• Journal of Popular Narrative
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• v.25 no.3
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• pp.9-40
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• 2019

This study presents an investigation into South Korean films in the 1990s in the aspects of genre change and emotional reorganization. The 1990s witnessed a change of genres and a paradigm shift in the history of Korean films according to the revolutionary changes of the film industry structure and media environment. Believing that these changes had something to do with emotional changes driven by global capitalization symbolized by democratization in 1987 and the foreign currency crisis in 1998, the investigator analyzed the phenomena in film texts and examined the opportunities and context behind them. Unlike previous researches, this study made an approach to the history of Korean films in the 1990s with three points: first, this study focused on why the romantic comedy genre emerged in the 1990s and what stages its formation underwent since there had been no profound discussions about them; secondly, this study analyzed the biggest hits during the transitional period from 1987~1999 to figure out the mainstream genres and emotions during that period since these hits would provide texts to show the genre domain and public taste in a symbolic way; and finally, this study grew out of the separate investigation approach between melodramas and romantic comedies and looked into an emotional structure to encompass both genres to make a more broad and dynamic approach to South Korean films in the 1990s. History flows continuously without severance from previous times. When there is attention paid to inflection points and opportunities in the continuum, it can show the dynamics and structures of changes. This research led to the following conclusions: the mainstream genre of South Korean films had been melodramas until the 1980s. The old convention had been kept to offset or suture contradictions and excessive elements deviant from the structural consistency. Here, the structural consistency refers to no compliance to rational regulations or trade. The process of genre reorganization in the 1990s happened while securing some distance from the convention of making the structural consistency a sacrifice. The direction was to reinforce control through reasonable rationalism and logic of capital. It developed into romance, which would start with comedy to keep distance from the objects through laughter, heighten the level of remarks, and expand criticality, symbolize emotions with taste items, and build through the logic of mutual consensus and practical trade. In the 1990s, the South Korean films thus developed in a direction of moving away from the narrative of urgent pathos based on unconditional familism. It was on the same track as the entry of the South Korean society into the upgraded orbits of democracy and capitalism as the twins of modern rationalism since the latter part of the 1980s.

• Journal of the Korean Orthopaedic Association
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• v.52 no.1
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• pp.33-39
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• 2017

Purpose: Surgical risks associated with the resection of osteochondroma around the proximal tibia and fibula, as well as the proximal humerus have been well established; however, the clinical presentation and optimal surgical approach for osteochondroma around the lesser trochanter have not been fully addressed. Materials and Methods: Thirteen patients with osteochondroma around the lesser trochanter underwent resection. We described the chief complaint, duration of symptom, location of the tumor, mass protrusion pattern on axial computed tomography image, tumor volume, surgical approach, iliopsoas tendon integrity after resection, and complication according to the each surgical approach. Results: Pain on walking or exercise was the chief complaint in 7 patients, and numbness and radiating pain in 6 patients. The average duration of symptom was 19 months (2-72 months). The surgical approach for 5 tumors that protruded postero-laterally was postero-lateral (n=3), anterior (n=1), and medial (n=1). All 4 patients with antero-medially protruding tumor underwent the anterior approach. Two patients with both antero-medially and postero-laterally protruding tumor received the medial and anterior approach, respectively. Two patients who underwent medial approach for postero-laterally protruded tumor showed extensive cortical defect after resection. One patient who received the anterior approach to resect a large postero-laterally protruded tumor developed complete sciatic nerve palsy, which was recovered 6 months after re-exploration. Conclusion: For large osteochondromas with posterior protrusion, we should not underestimate the probability of sciatic nerve compression. When regarding the optimal surgical approach, the medial one is best suitable for small tumors, while the anterior approach is good for antero-medial or femur neck tumor. For postero-laterally protruded large tumors, posterior approach may minimize the risk of sciatic nerve palsy.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Journal of agriculture & life science
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• v.50 no.5
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• pp.139-152
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• 2016

The comparative in vitro and in situ analysis were conducted to evaluate the rumen degradability and physical structure of domestic roughage as rice straw, timothy, alfalfa, wormwood and green tea. The feedstuffs incubated with rumen fluid and was used to determine gas production, microbial growth rate and pH changes in an in vitro experiment. The gas production was increased during incubation times and was significantly(p<0.05) lower in green tea than other feedstuffs. The microbial growth rate in the feedstuffs was increased during incubation times. However, microbial growth rate was significantly(p<0.05) lower in wormwood and green tea than other feedstuffs. Ruminal pH was decreased during incubation times, and timothy was the lowest, and rice straw was the highest among feedstuffs. The disappearance rate of dry matter(DM) and crude protein(CP) in all feedstuffs were increased during incubation times and green tea was the highest(p<0.05) compared with other feedstuffs. In effective degradability, when rumen out-flow rate was assigned to 4%, wormwood showed the highest in DM, and alfalfa was the highest in CP. Whereas, green tea was the highest in both in situ DM and CP degradability. Many cilia on the surface and stoma of wormwood and stoma in green tea were observed by scanning electron microscopy. Microbes breaked down the cilia at the beginning and then degraded the surface in wormwood. In case of green tea, microbes attached to stoma. Therefore, wormwood and green tea have a potential value as ruminal feed stuffs.

• Journal of Ethics
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• no.80
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• pp.51-77
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• 2011

This study aims to explore how to establish any foundation of the value of the unification of the Korean Peninsula in multicultural society of Korea. Its main issue is related to Korean identity of a nation and its shared value among the mulitcultural members, in particular, of North Koreans including defectors, foreign workers, and immigrants of international marriage and their children. For this study, I would utilize a given research of the application of two concepts of culture to multicultural levels by criticizing its limit; as an alternative, furthermore, I would pay attention to the possibility of the concept of emotion in multicultural members. A short feature in a given study of two conceptions of culture in a multicultural society is as follows: the first is to regard it as the patterns of meanings and symbols, which is very useful to understand others or other culture; secondly, to see it as the lasting process of perfection in human life, which makes us recognize ourselves as a member, so to speak, identity. In application it to Korean muliticultural members, however, there are crucial and complicated problems according to the cases of their lives. For North Koreans, firstly, they tend to get the conception of Korean identity in terms of ideological policies and education of North Korean government. This means that they have a strong hatred towards the word multiculture, in the level of recognizing the self-culture. Secondly, North Korean defectors also have the recognition of the self-culture, but their serious problem is discriminative treatments by South Korean in terms of socio-economics, in the process of their settlement. Thirdly, parents and their children in multicultural family can have their identity as Korean. In parents, however, the level is double that they can have both identities of Korean as well as of their countries. The foundation, therefore, of the value of the unification in the Korean Peninsula is closely related to the issue of identity as Korean. To recognize it, it is possible only to consider and reflect all members' lives by applying the dual conceptions of culture to their multicultural lives. That is not of outer system, but of inner, relational and cultural emotion, which enables them to share their common value of unification.

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• Korean Journal of Legislative Studies
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• v.26 no.3
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• pp.37-83
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• 2020

This paper presents the results of 'The Survey on the 21^st National Assembly members' conducted by the Korean Association of Party Studies (KAPS) and the Hankyoreh following the 21^st Korean National Assembly Election. Since the 16^th Korean National Assembly Election, the KAPS has surveyed the candidates and/or the elected regarding their views on major policy issues and perceived self-ideology, which has contributed to our understanding of overtime changes in ideology of political parties in South Korea and their members. This year's survey includes 21 questions on the four major policy issue areas including foreign policy, economy, social issues and cultural issues as well as their perceived ideology. Among the 300 elected, 197 participated in the survey. The results suggest that the Justice Party is most liberal, the United Future Party is most conservative, and the Democratic Party is in the middle on average in terms of issue preference and perceived ideology. Compared to the preceding National Assembly, the partisan gap continues to appear salient in foreign policy, economy, and the cultural issues. In contrast, the gap narrows down in the social issues because the members of the Democratic Party embrace more conservative preference. It is noteworthy to examine whether this shift leads to cooperative decision making on social policies between liberal and conservative parties in the upcoming National Assembly. The composite policy preference index of individual assembly members, on the other hand, shows significant difference among members of different parties. Political parties in South Korea has evolved from a group of people from the same region into a group of people with distinctive policy preferences.

• Journal of the Korean Society of Radiology
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• v.81 no.3
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• pp.665-675
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• 2020

Purpose This study aimed to identify independent predictors of favorable outcomes associated with emergent carotid artery stenting (CAS) in patients with acute anterior circulation stroke. Materials and Methods This study included 93 patients with acute stroke who underwent emergent CAS to treat stenoocclusive lesions in the cervical internal carotid artery (ICA) within 6 hours of the onset of the associated symptoms. Data were compared between patients with and without favorable outcomes. The independent predictors of a favorable outcome were determined via logistic regression analysis (modified Rankin Scale 0-2 at 90 days). Results Intracranial tandem occlusion was noted in 81.7% of patients (76/93) among which (76/93), 55 of whom underwent intracranial recanalization therapy. Intracranial reperfusion was successful in 74.2% (69/93) and favorable outcomes were noted in 51.6% of patients (48/93). The mortality rate was 6.5% (6/93). In logistic regression analysis, diffusion-weighted imaging-Alberta Stroke Program Early CT Score [odds ratio (OR), 1.487; 95% confidence interval (CI), 1.018-2.173, p = 0.04], successful reperfusion (OR, 5.199; 95% CI, 1.566-17.265, p = 0.007), and parenchymal hemorrhage (OR, 0.042; 95% CI, 0.003-0.522, p = 0.014) were independently associated with a favorable outcome. Conclusion Baseline infarct size, reperfusion status, and parenchymal hemorrhage were independent predictors of favorable outcomes after emergent CAS to treat stenoocclusive lesions in the cervical ICA in patients with acute anterior circulation stroke.

• Journal of Korean Dental Hygiene Science
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• v.6 no.2
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• pp.65-77
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• 2023

Background: The shortage of dental hygienists as assistant is a great concern to dental clinics, while dental hygienists are rather pursuing the role of oral hygiene control and preventive treatments which is the main role for dental hygienists in the United States. The dental hygienist and dental assistant system in the United States can be a reference in these discussions. Methods: Educational requirements for licensure and work areas for dental hygienists and dental assistants were investigated through the information provided by the American Dental Association (ADA), American Dental Hygienists Association, National Board Dental Hygiene Examination (NBDHE), Dental Assistants Association of America (ADAA), and Dental Assistants National Board (DANB). Results: In the United States, each state has different systems, but in general, dental hygienists obtain licenses after completing 2~3 years of associate degree programs in dental hygiene after obtaining basic learning skills, and mainly perform tasks related to patient screening procedures, oral hygiene management and preventive care. Dental assistants can take the license test after completing a training course of 9~11 months to obtain a dental assistant certification. Additional expanded work typically requires passing state qualification tests, completing a training program, obtaining a degree, or gaining clinical experience for a certain period of time, depending on the state Conclusion: The scope of work of dental hygienists designated by the Medical Engineer Act and the Enforcement Decree in Korea includes both the work of dental hygienists and dental assistants in the United States, and if a dental assistant system like the United States is introduced to address the current shortage of dental assistants, institutional supplementation such as adjustment of the scope of work and expansion of the role of dental hygienists in oral hygiene management and prevention work is needed and in-depth discussion is necessary.