• Journal of Korean Orthopaedic Sports Medicine
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• v.1 no.1
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• pp.79-88
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• 2002

Purpose: In this prospective, randomized study, we compared the results of early motion versus conventional immobilization after the arthroscopic Bankart repair. Materilal and Methods : We performed an arthroscopic Bankart repair using suture anchors in 62 patients with traumatic anterior shoulder instability and randomized them into two groups; Group 1 (n=28; mean age, 28 years) underwent three-week of immobilization and conventional rehabilitation program, while Group 2 (n=34; mean age, 29 years) underwent an accelerated rehabilitation program with staged range of motion and strengthening exercises starting from the immediate postoperative day. Selected patients were non-athletes with a classic Bankart lesion and a robust labrum. Analysis of outcome included pain scores (6-week and follow-up: 31(9 months), range of motion, return to activity, recurrence, patients’ satisfaction with each program, and shoulder scores (ASES, UCLA, and Rowe). Results : The recurrent rate was not different between the two groups (2 anterior apprehension from each group) (p=0.842). Patients with accelerated rehabilitation resumed functional range-of-motion faster and returned earlier to the functional level of activity (p<0.05). Accelerated rehabilitation decreased postoperative pain and more patients were satisfied with this program (p<0.05). No differences were found between the two groups at the follow-up with regards to the shoulder scores, return to activity, pain score, and the range-of-motion. Conclusions : Early mobilization after arthroscopic Bankart repair does not increase the recurrence rate in selected patients. Although the final outcomes are similar in both groups, the accelerated rehabilitation program promotes functional recovery and reduces postoperative pain, which enables patients an early institution of desired activities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.1-14
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• 2021

Ssangsanjae was created in the mid-1800s, It is located at Jiri Mountain to the north and the Seomjin River to the south. This garden has not changed much even though it has passed through the sixth generation since its creation, so it still retains the features of a private garden in the late Joseon Dynasty. This study focused on the changing landscape of Ssangsanjae as a historical garden; through field surveys, interviews and analysis of builder's collection, boards and couplets. Ssangsanjae is largely classified into inner and outer gardens, and the inner is divided into an entry space, a residential space, and a backyard. The backyard consists of Seodangchae, it's garden, Gyeongamdang, and swimming pool, and is connected to the Sado Reservoir area, which is the outer garden. The distinct vegetation landscape of Ssangsanjae are a 13,000m² bamboo and green tea field, Peony(Paeonia suffruticosa Andr. and Paeonia lactiflora var. trichocarpa(Bunge) Stern) planted on both sides of the road that crosses the lawn, the view through a frame(額景) shown by the twisted branches of Camellia and Evergreen spindletree, and a fence made of Trifolia Orange(Poncirus trifoliata) and Bamboo. Ssangsanjae stands out for its spatial composition and arrangement in consideration of the topography and native vegetation. The main building was named by the descendants based on the predecessor's Aho(pseudonym), and it is the philosophical view of the predecessors who tried to cultivate the younger students without going up on the road. The standing stone and white boundary stone built by Mr. Oh Ju Seok are Ssangsanjae's unique gardening facilities. The stone chairs, and swimming pool which were created by the current owner for the convenience of families and visitors also make a distinctive landscape. Ssangsanjae, for residents, was a place for living, exchanging friendships, training himself and seculusion, for children was a place for learning, but now is 'the private garden' where many people can heal themselves. Over the 200 years, the landscape of Ssangsanjae's inner and outer gardens experienced large and small changes. As such, it is necessary to recognize the historical gardens with changing properties as a living heritage. This study is significant in that, as the first study to approach Ssangsanjae in the view of landscape research, it provides basic data on Ssangsanjae as a destination of garden tourism.

• The Bulletin of The Korean Astronomical Society
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• v.46 no.2
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• pp.73.4-74
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• 2021

한국천문연구원은 2017년 제1차 구술채록사업에 이어 2020년 제2차 사업을 진행하면서 최초로 원외 원로에 대한 구술채록을 시도하였다. 국가 대표 천문연구의 산실로서 연구원 존재 의의를 확립하기 위하여 원내 원로에 국한되었던 구술자 대상을 확장한 것이다. 그 첫 외부 구술 대상자로 방득룡 전임 노스웨스턴 천문학과 교수를 선정하여 2020년 7월부터 준비단계에 들어갔다. 방득룡 전(前)교수가 첫 번째 한국천문연구원 원외 인사 구술자로 선정된 이유는, 그가 우리나라 천문대1호 망원경 구매 선정에 개입한 서신(1972년)이 자료로 남아있었기 때문이다. 한국천문연구원에서 2017년에 수행한 제1차 구술채록사업에서 구술자로 참여한 오병렬 한국천문연구원 원로가 기증한 사료들은 대부분 연구원 태동기 국립천문대 구축과 망원경 구매 관련 자료였으며 이 가운데 1972년 당시 과학기술처 김선길 진흥국장에게 Boller and Chivesns(사(社))의 반사경을 추천한 방득룡 전(前)교수의 서신은 한국 천문학 발전사에서 중요한 사료였다. 연구진은 이 자료를 시작으로, 방득룡 전(前)교수의 생존 여부와 문서고의 공기록물들에서 그의 흔적을 찾아가기 시작했다. 놀랍게도 그는 실제 세계와 한국천문연구원 문서고 깊숙이 기록물들 모두에서 상존하고 있었다. 1927년생인 방득룡 전(前)교수, Dr. John D. R.은 미국 플로리다 한 실버타운에서 건강한 정신으로 생존하여 있었고 연구진의 인터뷰에 흔쾌히 응했다. 2020년 9월 16일에 한국천문연구원 본원 세종홀 2층 회의실에서 영상통신회의로 그와의 구술인터뷰가 진행되었다. 이 구술인터뷰는 원외 인사가 대상이란 점 외에도 방법적으로는 전형적인 대면 방식이 아닌 영상 인터뷰였다는 점에서 코로나 시대의 대안이 되는 실험적 시도였다. 현대 한국천문학 발전사의 재조명 측면에서도 의미가 있었다. 1960년대 초반부터 1992년 정년퇴임까지 30년을 미국 유수 대학교 천문학과 교수로 재직하며 활발한 활동을 해 온 한국계 천문학자가 우리나라 최초 반사망원경 구매 선정에 적극 개입하였던 역사는, 공문서 자료들과 서신 사료들에 이어 그의 육성으로 나머지 의구심의 간극이 채워졌다. 또 구술자 개인이 주관적으로 중요하다고 여기는 '기억'이 중요한 아카이빙 콘텐츠 확장의 단초가 될 수 있다는 것을 보여줌으로써 구술사 연구에 있어서도 중요한 관점을 주었다. 애초 연구진이 방득룡 전(前)교수의 공식 기록에서 아카이빙의 큰 줄기로 잡았던 것은 1948년 도미, 1957년 위스콘신 대학교 천문학 박사학위 취득, 1962년부터 노스웨스턴 대학(일리노이주 에반스턴)의 천문학 교수진, 1992년 은퇴로 이어진 생애였다. 그러나 그와의 구술 준비 서신 왕래와 구술을 통하여 알게 된 그가 인생에서 중요시 여겼던 지점은, 1948년 도미 무렵 한국의 전쟁 전 상황과 당시 비슷한 시기에 유학한 한국 천문학자들의 동태, 그리고 1957년부터 1962년까지 프린스턴 대학교에서 M. Schwarzschild 교수와 L. Spitzer 교수를 보조하며 Stratoscope Project를 연구하였던 경험이었다. 기록학적 의미에서도, 전자를 통해서 그와 함께 동시대 한국 천문학을 이끌었던 인재들의 맥락정보를 얻을 수 있었으며, 후자를 통해서는 세계 천문학사에 큰 영향을 미친 석학에 대한 아카이브 정보와의 연계 지점과 방득룡 전(前)교수의 연구 근원을 찾을 수 있었다. 이들은 추후 방득룡 콘텐츠 서비스 시에 AIP, NASM, Lyman Spitzer 콘텐츠, 평양천문대, 화천조경천문대, 서울대와 연세대, 그리고 한국천문연구원까지 연계되어 전 세계 폭넓은 이용자들의 유입을 유도할 수 있는 검색 도구가 될 수 있다. 이번 방득룡 구술사 연구에서 구술자 개인의 주관적인 소회가 공식 기록이 다가갈 수 없는 역사적 실체에 일정 부분 가까울 수 있다는 것, 그리고 이를 통하여 개인의 역사는 공동체의 역사로 확장될 수 있다는 사실을 발견할 수 있었다. 또 연구진은 방득룡 전(前)교수의 회상을 통하여 구술자 개인의 시각으로 한국과 미국 천문학계의 공동체 역사를 재조명할 수 있었고, 이것을 아카이브 콘텐츠 확장 서비스에 반영할 수 있다는 기대를 가지게 되었다. 무엇보다 이 연구를 통하여 다양한 주제의 아카이브로 연동될 수 있는 주제어와 검색도구를 구술자 개인의 회상으로부터 유효하게 도출할 수 있다는 것을 확인하였다. 그리고 향후 한국천문 구술아카이브의 확장을 통하여 보다 다양한 활용과 연구 재활용의 선순환이 가능하다는 것도 알 수 있었다. 이는 최근 기록학계에서 대두되고 있는 LOD(Linked Open Data)의 방향성과도 흡사하여 한국천문학 구술사연구의 차세대 통합형 기록관리의 미래모형을 기대케 하는 대목이다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Journal of the Korean Society of Food Science and Nutrition
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• v.44 no.12
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• pp.1895-1904
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• 2015

Foodborne illness associated with food service establishments is an important food safety issue in Korea. In this study, foodborne pathogens (Bacillus cereus, Clostridium perfringens, Escherichia coli, pathogenic Escherichia coli, Listeria monocytogenes, Salmonella spp., Staphylococcus aureus, and Vibrio parahaemolyticus) and hygiene indicator organisms [total viable cell counts (TVC), coliforms] were analyzed for food and environmental samples from foodservice establishments at schools in Gyeonggi province. Virulence factors and antimicrobial resistance of detected foodborne pathogens were also characterized. A total of 179 samples, including food (n=66), utensil (n=68), and environmental samples (n=45), were collected from eight food service establishments at schools in Gyeonggi province. Average contamination levels of TVC for foods (including raw materials) and environmental samples were 4.7 and 4.0 log CFU/g, respectively. Average contamination levels of coliforms were 2.7 and 4.0 log CFU/g for foods and environmental swab samples, respectively. B. cereus contamination was detected in food samples with an average of 2.1 log CFU/g. E. coli was detected only in raw materials, and S. aureus was positive in raw materials as well as environmental swab samples. Other foodborne pathogens were not detected in all samples. The entire B. cereus isolates possessed at least one of the diarrheal toxin genes (hblACD, nheABC, entFM, and cytK enterotoxin gene). However, ces gene encoding emetic toxin was not detected in B. cereus isolates. S. aureus isolates (n=16) contained at least one or more of the tested enterotoxin genes, except for tst gene. For E. coli and S. aureus, 92.7% and 37.5% of the isolates were susceptible against 16 and 19 antimicrobials, respectively. The analyzed microbial hazards could provide useful information for quantitative microbial risk assessment and food safety management system to control foodborne illness outbreaks in food service establishments.

• 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'.

• (The) Research of the performance art and culture
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• no.34
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• pp.277-313
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• 2017

This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.

• (The)Study of the Eastern Classic
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• no.57
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• pp.467-505
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• 2014

I am working on a series of Korean linguistic studies targeting Ganchal(old typed letters in Korea) for many years and this study is for the typology of the [Safety Expression] as the part. For this purpose, [Safety Expression] were divided into a formal types and semantic types, targeting the Chinese Ganchal and Hangul Ganchal of modern Korean Language time(16th century-19th century). Formal types can be divided based on whether Normal position or not, whether Omission or not, whether the Sending letter or not, whether the relationship of the high and the low or not. Normal position form and completion were made the first type which reveal well the typicality of the [Safety Expression]. Original position while [Own Safety] omitted as the second type, while Original position while [Opposite Safety] omitted as the third type, Original position while [Safety Expression] omitted as the fourth type. Inversion type were made as the fifth type which is the most severe solecism in [Safety Expression]. The first type is refers to Original position type that [Opposite Safety] precede the [Own Safety] and the completion type that is full of semantic element. This type can be referred to most typical and normative in that it equipped all components of [Safety Expression]. A second type is that [Safety Expression] is composed of only the [Opposite Safety]. This type is inferior to the first type in terms of set pattern, it is never outdone when it comes to the appearance frequency. Because asking [Opposite Safety] faithfully, omitting [Own Safety] dose not greatly deviate politeness and easy to write Ganchal, it is utilized. The third type is the Original position type showing the configuration of the [Opposite Safety]+Own Safety], but [Opposite Safety] is omitted. The fourth type is a Original position type showing configuration of the [Opposite Safety+Own Safety], but [Safety Expression] is omitted. This type is divided into A ; [Safety Expression] is entirely omitted and B ; such as 'saving trouble', the conventional expression, replace [Safety Expression]. The fifth type is inversion type that shown to structure of the [Own Safety+Opposite Safety], unlike the Original position type. This type is the most severe solecism type and real example is very rare. It is because let leading [Own Safety] and ask later [Opposite Safety] for face save is offend against common decency. In addition, it can be divided into the direct type that [Opposite Safety] and [Own Safety] is directly connected and indirect type that separate into the [story]. The semantic types of [Safety Expression] can be classified based on whether Sending letter or not, fast or slow, whether intimate or not, and isolation or not. For Sending letter, [Safety Expression] consists [Opposite Safety(Climate+Inquiry after health+Mental state)+Own safety(status+Inquiry after health+Mental state)]. At [Opposite safety], [Climate] could be subdivided as [Season] information and [Climate(weather)] information. Also, [Mental state] is divided as receiver's [Family Safety Mental state] and [Individual Safety Mental state]. In [Own Safety], [Status] is divided as receiver's traditional situation; [Recent condition] and receiver's ongoing situation; [Present condition]. [Inquiry after health] is also subdivided as receiver's [Family Safety] and [Individual Safety], [Safety] is as [Family Safety] and [Individual Safety]. Likewise, [Inquiry after health] or [Safety] is usually used as pairs, in dimension of [Family] and [Individual]. This phenomenon seems to have occurred from a big family system, which is defined as taking care of one's parents or grand parents. As for the Written Reply, [Safety Expression] consists [Opposite Safety (Reception+Inquiry after health+Mental state)+Own safety(status+Inquiry after health+Mental state)], and only in [Opposite safety], a difference in semantic structure happens with Sending letter. In [Opposite Safety], [Reception] is divided as [Letter] which is Ganchal that is directly received and [Message], which is news that is received indirectly from people. [Safety] is as [Family Safety] and [Individual Safety], [Mental state] also as [Family Safety Mental state] and [Individual Safety Mental state].