• Cross-Cultural Studies
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• v.39
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• pp.241-286
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• 2015

This study explores how folktales' motifs are used in diverse cultural contents such as literature, movies, or comics. More precisely, it is concerned with mysterious characters like Babayaga and Koshchei who appear in Russian fairytales. When the motifs of the reviewed literature are analyzed, the following three criteria are used for classification: New Writing, Rewriting, and New Version. Or course, it is New Writing that is far from the original work. Most of the collected works, including Joan Aiken's The Kingdom Under the Sea, Patricia Polacco's Babushka's Doll, Babushka Baba Yaga, and Tai?-Marc Le Thanh's BABAYAGA, belong to New Writing. The New Writing type mainly focuses on Babayaga's secluded life. In fairytales, Babayaga is depicted as the goddess of Mother Earth, the heroine of the Nature, or the ruler of the Animal Kingdom. That is why she lives in the deep and uninhabited wood. She is related to the Coming of Age ceremony. Her 'Hut on hen's legs' is an obstacle for immature protagonists to face before they come of age. Protagonists are supposed to solve the problems posed by Babayaga. If they succeed, they can get her magical help so as to complete their final mission. Babayaga is likely to appear as their antagonist. Protagonist may be subjected to a terrible ordeal created by Babayaga, and then come of age by recovering from that ordeal. Sometimes, Babayaga helps protagonists to get a grip on reality. That is why she lives in a hut in the deep and dark forest which is on the borderline between life and death. On the other hand, Marianna Mayer's Baba Yaga and Vasilisa the Brave has been classified as a controversial work between New Writing and Rewriting. It is apparently closer to New Version. However, it cannot be classified as a work of New Version because the author incorporates 'probability' into her work. Among the reviewed works, it is Korean Writer Rye, Kami's The Spider Woman's House that best reflects the essence of Babayaga. Babayaga and other characters are amusing in movies because most of the movies are animations for children. In one sense, it is positive that the scary characters in folktales are approachable to children. In other sense, however, it is regrettable that symbolic motifs are completely eliminated. In Mike Mignola's Hellboy, Japanese animations such as Index or Narutaru, on-line games such as Cabal or Vampire: The masquerade, the essence of the supernatural characters in folktales is completely eliminated, and only their 'belligerent power' stands out. It is desirable to put stories into perspective whether they are written or told. The literature property of folktales provides a special opportunity to readers. In this light, a variety of motifs have a good reason to be reborn as modern cultural contents. The bottom line is to maintain its true nature.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.267-275
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• 2020

Even ordinary-looking plays can have a profound meaning. Based on this assumption, Eugene Pink (1960) has established an analytical model of play with five elements, namely "delight", "meaning", "community", "rules" and "tools." It was an effort to reflect on the true meaning of play beyond the cortical entertaining nature of play. In this study, it was carried out that all the texts containing images and performance from the EBS character "Pengsu" were selected, since he emerged as a new star in 2019. And also his play structure was analyzed by applying the Pink's model. As a result, Pengsu's play structure was confirmed to be systematic and complete as a play prototype because it was well-organized with five elements of play. It was regarded as a successful character that skillfully attracts participants to the play world. Among the components of the play, "fun" was found to be his funny appearance, sudden and unconventional behavior, "meaning" was the elimination of authoritarianism, self-esteeming and energizing, "community" was a multi-platform media user who crossed off-on-line, analog-digital-line, "rules" was to set his concept fixed as a young stranger with an ego to unreveal his identity, and "tools" was shown as his character itself and continual discourse. It shows that until now, Pengsu has a social net function of quite spreading the positive meaning of encouragement and comfort, advice and guide, consideration and forgiveness, introspection and nirvana to all members of our society, including the youth who are struggling with uncertainty and anxiety by showing rather exaggerated and stimulating performance that precisely combines these play elements.

• Nuclear Engineering and Technology
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• v.54 no.11
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• pp.4348-4358
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• 2022

The thermal-hydraulics phenomena in a containment during an accident will necessarily include radiative heat transfer (i) within the gas mixture due to the high radiative absorption and emission of steam and (ii) between the gas mixture and the surrounding structures. The analysis of some previous PANDA experiments (PSI, Switzerland) demonstrated the importance of the proper modelling of radiation for the benefit of numerical simulations. These results together with dedicated scoping calculations conducted for the present experiments indicated that the radiative heat transfer is considerable, even for a very low amount of steam (≈2%). The H2P2 series conducted in the large-scale PANDA facility at the Paul-Scherrer-Institut (PSI) in the framework of the OECD/NEA HYMERES-2 project is intended to enhance the understanding of thermal radiation phenomena and to provide a benchmark for corresponding numerical simulations. Thus, the test matrix was tailored around the two opposite extremes: either gas compositions with small steam content such that radiative heat transfer phenomena can be neglected. Or gas mixtures containing larger amounts of steam, so that radiative heat transfer is expected to play a dominant role. The H2P2 series consists of 5 experiments designed to isolate the radiation phenomena from convective and diffusive effects as much as possible. One vessel with a diameter of 4 m and a height of 8 m was preconditioned with different mixtures of air / steam at room and elevated temperatures. This was followed by the build-up of a stable helium stratification at constant pressure in the upper part of the vessel. After that, helium was injected from the top into the vessel which leads to an increase of the vessel pressure and a corresponding elevation-dependent and transient rise of the gas temperature. It is shown that even the addition of small amounts of steam in the initial gas atmosphere considerably impacts the radiative heat transport throughout all phases of the experiments and markedly influences i) the monitored gas peak temperature, ii) the temperature history during the compression and iii) the following relaxation phase after the compression was stopped. These PANDA experiments are the first of its kind conducted in a large scale thermal-hydraulic facility.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• Journal of the Mineralogical Society of Korea
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• v.21 no.3
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• pp.313-320
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• 2008

Hectorite was synthesized under hydrothermal conditions and its physicochemical properties have been investigated in terms of temperature, pH, and organic agent to observe the change of doll basal spacing. The IR, CEC, MB, swelling volume and specific surface area of the hectorite were measured for the characterization. The solid/liquid ratio of hectorite to distilled water before mixing with other materials was also determined for its use as a multi-functional material. The $d_{001}$ basal spacing decreased from $12.63\;\AA$ at room temperature to $10.19\;\AA$ at $650^{\circ}C$ in the heating tests. As the pH of hectorite slurry increased. the $d_{001}$ basal spacing decreased. reaching the lowest value of $13.33\;\AA$ at pH 7 and afterward, increased. All the fool basal spacings of the hectorite increased when it was intercalated with the following solvents: $12.86\;\AA$ in diethyl ether, $13.31\;\AA$ in acetonitrile. $13.59\;\AA$ in methanol, $14.05\;\AA$ in ethanol, $15.69\;\AA$ in acetone, and $17.42\;\AA$ in ethylene glycol. Our IR analysis results were in good agreement with those of other researchers. The CEC, MB, swelling volume and specific surface area of hectorite were determined to be 105 cmol/kg, 80 cmol/kg, $68\sim74ml/2g$ and $213m^{2}/g$, respectively. Also, the hectorite to distilled water ratio of 2 to 100 was found to be most favorable for mixing with other materials such as the solvents mentioned above.

• The Journal of Art Theory & Practice
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• no.6
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• pp.77-99
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• 2008

The purpose of this study is to show that the reason behind the ambivalent characteristic displayed in Niki de Saint Phalle's works is in her trauma and how such characteristic can be extracted from her works. During her creative years, Saint Phalle worked on various materials from different genres such as assemblages, shooting paintings, a series on Bride and Monster, 'Nana', 'Tarot Garden'and public sculptures. One commonality found among her various works is the ambivalent characteristic that contains contrasting elements simultaneously. Saint Phalle suffered a terrible psychological damage inflicted by her parents during her childhood. Specifically, she was sexually assaulted by her father and emotionally neglected by her mother, the trauma that affected her for the rest of her life. As a result, she came to develop extreme love- hate relationships with her parents and this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through various researches done on the subject of the affect of sexual assault. It is common for incest victims to develop ambivalent feelings towards the perpetrator and Saint Phalle was no exception. Dissociation disorder and a snake well explain the trauma from her father. It is a generally accepted belief in the field of psychology that dissociation disorder commonly occurs to children who experience incest. And dissociation disorder is similar to the characteristic of ambivalence in the sense that a single entity contains more than two contrasting elements at the same time. In addition, the amputated doll objects used in her assemblages coincide with the expression of body detachment of people with dissociation disorder. These facts clearly indicate that the trauma from her father is showing through in her works. A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle that resulted from her trauma. She remembers her father's rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, she displays a similar pattern of ambivalent emotion like love and hate or fear towards a snake and her father. This is also confirmed by her portrayal of a snake as a monster or reversely as a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother's maternal deprivation. It appears that Saint Phalle's mother possessed all the causes for maternal deprivation such as maternal separation, personality disorder and inappropriate attitude towards child rearing. Especially, a study that shows mother's negative attitude towards child breeding tends to increase dissociation experience of children is another important evidence that supports Saint Phalle's dissociation tendency. These traces of Saint Phalle's trauma are clearly revealed in her assemblages and shooting paintings. The violent objects in her assemblages such as a hammer, razor, nail represent the rage and defensiveness towards her father. The objects such as fragments of broken plates of feminine patterns, pots and mirrors that her mother used symbolize the affection towards her mother. On the other hand, the destructed objects can be interpreted as her hate and resentment towards her mother. Shooting paintings contain her extreme fury and hate. Things such as acts of shooting and the image associated with blood after shooting are blunt expressions of her bursts of emotions. I have tried to define and classify the ambivalent characteristics shown in her assemblages and shooting paintings as hate, rage, violence, calm, love and pleasure according to the frame of Thanatos and Eros. Out of the six, hate, rage, violence and clam are associated with Thanatos while love and pleasure are associated with Eros and they correspondingly form an ambivalent structure. These ambivalent characteristics can be found in her assemblages and shooting paintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage, violence and the silence felt throughout her works represent calmness. And, as mentioned, the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage, violence can be found in the use of force and in the traces of watercolor after shooting, and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shielded calmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle's works by examining her trauma to find its correlation, and a meaning of this study can be found from the fact that it refocused the origin of Saint Phalle who is generally known as a feminist artist. Additionally, a meaning of the study can be found also from the fact that it examined the ambivalent characteristics of her works through a frame of Thanatos and Eros.

• Journal of agricultural medicine and community health
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• v.25 no.1
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• pp.99-112
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• 2000

This survey was conducted to assess the utilization of health center including health sub-center and community health post and the health service demand of residents in a urban and rural unified community. Officials in Up·Myun·Dong offices visited randomly sampled 4,027 households(4.6% of total households in unified City) which included 3,337 households in urban area(4.9% of total households) and 690 households in rural area(3.7% of total households) and interviewed with heads or housewives of the households in September, 1995. There were significant differences in health-related demographic characteristics including age-sex distribution, educational level, period of residence in the community and medical insurance status of the interviewees between urban and rural areas. Of the respondents, 64.8% in urban area and 55.6% in rural replied that they had utilized the health center in the past. The most common purpose for visiting the health center was to get vaccination in urban area and to get outpatient care in rural area. The top priority health center activity that needs to be reinforced was communicable disease control and over 90% of the respondents preferred to have mobile clinic and home health care service in were also highly demanded. Eighty-six percent of the urban respondents replied that a health sub-center must be established in urban area. In the rural area, 90.3% of the respondents replied that they wanted to maintain the health sub-center and 88.3% wanted to maintain the community health post. Along with the improvement of facilities and equipments of the health center by Rural Health Service Improvement Project, new health service programs must be developed to meet the demand of the community.