• Child Health Nursing Research
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• v.20 no.1
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• pp.49-57
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• 2014

Purpose: The purpose of this qualitative study was to explore how adolescent survivors of childhood cancer grieve the death of cancer peers. Methods: Data were obtained from Korean adolescents with cancer between the ages of 13 and 18 (N=12) through semi-structured interviews (face-to-face, telephone, and Internet chatting), observations of the social dynamics of participants in self-help groups, and retrieval of personal Web journals. Based on the grounded theory methodology, data collection and analysis were conducted simultaneously, and constant comparative methods were used. Clarke's situational analysis was adopted, and this paper focused on presenting "how to" and "what we can learn" from this analytic strategy. Results: Mapping examples were visualized using of three modes of maps. Adolescent cancer survivors coped with reminders of the "darkness" that ultimately featured their overall grief. Additionally, adolescents' encounters and avoidance of grief were triggered by introspection and interactions with family and friends. Conclusion: Situational analysis provided an efficient way to analyze the experiences of adolescent survivors of childhood cancer by systematizing possible information within the relational social contexts of the research phenomenon.

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.

• Journal of the Society of Disaster Information
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• v.17 no.1
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• pp.143-153
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• 2021

Purpose: The purpose of this study was to analyze data from the Ministry of Health, Safety and Health and the Ministry of Employment and Labor, and the total number of deaths (disease + accidents) reached 2,020 in 2019 and the estimated economic loss was 27.6 trillion won. This is believed to be the time to present improvements to ensure that economic loss estimates are steadily increasing as in Table 1, and that government-level losses can be drastically reduced. Method: In this study, factors were selected through prior research, and reliability analysis, technical statistics and correlation analysis, and multi-term analysis were conducted through the Jamovi program for the analysis of results. Result: Multiple session analysis was conducted to verify the research theory indicated in this study, and the analysis showed that mechanical and management factors did not affect the fall death accident of the opening, and human factors, material and environmental factors had a static effect. In addition, mechanical and administrative factors do not affect the fall of the outer wall, and human and material and environmental factors have a static effect. Conclusion:: As a result of analyzing 450 falling deaths over the past 13 years among the data posted to the Korea Health and Safety Corporation, the most common causes of falling deaths were the openings and outer walls.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.297-304
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• 2022

The purpose of this study is to examine the characteristics and theatricality of everyday plays in Thornton Wilder's Our Town, and to re-examine this work that makes us recognize the importance of everyday life in the COVID-19 era. This work seeks to find a certain value in very trivial events with the subject matter of everyday life such as birth, love and marriage, and death. Grovers Corners, the background of this work, symbolizes the town and the universe where everyone lives today, and the action spans from 1901 to 1913, and this action shows universality in everyday life that takes place even today. Wilder won a second Pulitzer Prize for this work and is a leading figure in non-realist theater. Using an empty stage as the basic frame, this work shows theatricalism, a theory that acknowledges that the action on the stage is not true and shows that fact to the audience. In addition, he leads actors to act with mime instead of props, stimulating the audience's imagination and making them think of props that are not on stage as if they really exist. This work is an everyday play that makes people realize the importance of everyday life, and it has the effect of creating an opportunity for the audience to reflect on the play and life while keeping a distance.

• Cartoon and Animation Studies
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• s.45
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• pp.345-366
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• 2016

In Charlotte's Web, each character motivates the other and strives for the new generation based upon motherhood. The intersection between life and death is directly and symbolically addressed as a component of the natural life cycle. Borrowing Kristeva's theory of the semiotic, the symbolic and the chora, this study investigates the dialectical oscillation between the semiotic and the symbolic and the social circumstances of subjects in signification as well as highlights the features of character growth. From a feminist perspective, herein, motherhood is translated not only as a robust foundation for relations among characters but also as an impetus for developing into a good and influential individual who embraces all organisms with care and consideration. Charlotte's Web clearly shows how the semiotic and symbolic elements of each being, united by motherhood, interact and lead to positive change. Though the world appears to consist of incompatible ingredients, they are combined. Charlotte's Web awakens the fact that their harmony makes a commitment to building a more wonderful place. It can be suggested that Charlotte's Web, where animal characters contain two tendencies of the human mind, exhibits human development proceedings.

• Journal of Korean Philosophical Society
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• v.117
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• pp.85-111
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• 2011

Topics with which chis paper deals are as following; (1)Zizek's interpretation of Rothko's painting, (2)Lacan's gaze and picture, (3)the real as object a, (4)primal jouissance and death-drive, (5)a new identity of man-emptiness in Zizek, (6) existential level and existential conflict, (7)a variety of meanings of emptiness, (8)transpecsonal drive and meditation, (9) the different Real-Emptiness, (10)Rochko's painting and transpersonal drive.

• (The)Study of the Eastern Classic
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• no.69
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• pp.531-561
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• 2017

This article's aim is to contrast Dasan's commentary with Chu-tzu' and old commentary on The Meaning of learning(學) and ming(命) in Confucius Analects analects. Confucius Analects analects began with Confucius said, " Is it not pleasant to learn with a constant perseverance and application?"(1:1), and closed with Confucius said, "Without recognizing the ordinances of Heaven, it is impossible to be a superior man. We can consider Confucian analects as theory of science. I've tried to define the meaning of learning(學) in Confucius Analects, at first. The Meaning of learning in Confucian analects have 1) Technology, 2) the way of human relation, 3) liberal ar, and 4) 'learning to become a sage. Chu-tzu defines learning(學) in Confucius Analects as 'learning to become a sage'. Dasan's considered learning(學) as science in general. Chu-tzu' and old commentary defined zhiming(知命) in Confucius Analects is 'to know the fact that there is destiny in man's life(ex, life and death). Dasan reinterpreted ming(命) in Confucius Analects as human mind-nature.

• Journal of Korean Medical classics
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• v.3
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• pp.399-443
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• 1989

In this thesis, I intend to study the translational and clinical interpretation through the syndrom of "Pyong-Yeol-Byong", and reached the following conclusions. 1. Eum-Yang-Kyo (陰陽交)' 1) Meaning: "Eum" means "Essential and vital energy" "Yang" means "Evil factor affecting health" and "Kyo" means "cross-struggle." 2) Location of disease: Heat evil enter Hyeol-Bun (血分) 3) Pathogenesis: Heat evil invade Eum-Bun (陰分) and struggles with Health energy, therefore Eum-Chung (陰精) is exhausted and Heat-evil doesn't disapper, it damage Eum and exhaust fluid. Reach fever, rapid pulse raving and unable to take meal, not controled by sweating and sceach death. 4) Particularity of Syndrome: Heat enter Hyol-Bun, and Evil factor is enough and Health energy is insufficient, so that reveal the symptoms of high fever, delirium with coma, unable to take meals. 5) Therapy: It clears Gi-Bun heat evil (氣分熱邪) by Gypsum, Rhizoma Anemarrhenae, Flos Lonicerae, Fructus Forsythiae, Fructus Gardeniae, Radix Scutellanae Rhizoma Coptidis, and cools Blood by Cornu Rhinoceri Asiatici, Radix Rehmanniae, Cortex Moutan Radicis, Dae-Chung-Yob (大靑葉) Radix Arnebiae Seu Lithospermi. 2. Poong Gweol (風厥) 1) Meaning: Poong means wind-evil, Gweol means reversing up. 2) Location of disease: Disease complexes with TaeYang (太陽) in outer part, and with So-Eum (少陰) in inner part. 3) Pathogenesis: Tae-Yang-Gyeong (太陽經) accept wind-evil and So-Eum-Gyeong (少陽經) Kidney Energy reverse up so that fidgetiness not resolves by sweating. 4) Particularity of Syndrome: There are outer symptoms of fever, hydrosis with inner symptoms of fidgetinessis. 5) Therapy: Reduce Jok-Tae-Yang (足太陽) and Supply Jok-So-Eum (足少陰) by accupuncture, so cure Poong Gweol and make balance between Yeong (營) and Wi (衛). 3. Scrofula coused by wind-evil (勞風) 1) Meaning: It means accepting wind evil rest less. 2) Location of Disease: It locates lung 3) Pathogenesis: Because of accepting wind-evil restless, he take scrofula with damaging lung. 4) Particularity of disease: It is lung disease of aversion to wind and shiver, nape-stiffiness, dim eyesight, cough, disphea, vomitting sputum, if one camnot vomit sputum, he died by damage of lung. 5) Therapy: The period of therapy is different by age or strength of health energy, so I think must prevent Eum deficiency and clear fever no reduced in lung. 4. Shin-Poong (腎風) 1) Meaning: It means taking edema by accepting wind-evil, because the kidney controls water. 2) Location of Disease: It is that wind-evil envade kidney. 3) Pathogenesis : Water evil of kidney with wind-heat rises up to face, reach edema, puffines s of the lower eyelid, floating pulse, bombus, yellowish urine, hydrosis and hand-heating, drymouth and excessive thirsty, walkless by heaviness, menstrual disfunction, restless and unable to take meals, unable to lie flat, heavy cough if lie flat, and accepting wind-evil by deficiency of kidney function, so the function of dredging the water passage is not smooth, symptom of water and symptom of wind reveal together. 4) Therapy: Remove wind-heat, promote diuresis to eliminate tile wetness-evil, supplement the dificiency of kidney's Eum. Finally, we can know that later Fever Disease Medicime (溫病學) is affected to the theory of "Pyong Yeol Byong" in 33th Chapter of SoMoon (素問).

• (The)Study of the Eastern Classic
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• no.35
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• pp.387-414
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• 2009

This paper looks into the Confucius customs of Yiphu and Seungjung, that is respectively a problem of deciding the successor of the family and a matter of establishing Jongtong (宗統: the proper inheritance line of the family), especially concerning the funerary and ancestor memorial services through Seongho Lee Ik's discussion on proprieties, whose Yeahak (禮學: Studies on Proprieties) is representative of the eighteenth century Yeahak. Seongho Lee Ik sees that there is one penetrating principle that should apply the same concerning Jongtong, regardless whether it is for the state or for a family or whether it is for the royal family or for the gentry in or out of the state service. To establish this one penetrating principle, he emphasizes the manners that fit one's circumstance and social standing, proposed as the theory and practice of 'Seoin-garyea (庶人家禮: Proper customs that even common people with no official titles can practice in marking their important life events like coming-of-age, marriage, and death)'. These two aspects of Seongho seem at odds with each other at a glance. Yet given that he considers that keeping proprietary manners for their own social standings would help secure the fundamental social order, which is of supreme importance to him, it makes sense. Next, the most problematic issues about Seongjung and Yiphu are the timing when one can declare the 'absence of the patriarch' and the manner how one substitutes oneself for the absent patriarch. Seongho sees that it is one thing to 'inherit the Jongtong' and it is another to 'become a next patriarch'. Basically, he does not separate the problem of Jongtong by one's social standings. The real situation involved can be different based on one's social standing, he readily acknowledges. Yet, 'the unchangeable ethical principle between the father and the son' would prevail over the same regardless of classes, he insists. This attitude of his is in line with his philosophy of proprieties and his practical guidance that proposes 'Seoin-Garyea' with an appeal to establish fundamental social order based on the practice of proper manners in accordance of one's social standing as he philosophizes the rules of Jongtong on the base of the one penetrating principle.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.