• 지역과문화
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• v.6 no.4
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• pp.1-21
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• 2019

This study focused at the local and historical characteristics of Busan from the perspective of local culture, along with the local characteristics of Busan. Busan's local cuisine has been reborn and continues to this day, influenced by the geographical and historical characteristics of the place. Places are not merely spatial points marked by coordinates, but are also semantics that include the human experience and emotional aspects of living in them. A place is a mix of culture, a human response to the visible environment and the environment. An understanding of a place provides a basis for understanding personal geography, culture, and history. .One of the specialties of an area with its location is the local cuisine. Local cuisines are not immutable, as they can change according to the characteristics of the area and the preferences of the residents. Busan's local cuisines reflect the geographical features of the city, and include Busan's historical experiences. First, anchovies and eel are well known for their location as ports bordering the sea. Second, Dongnae Pajeon and Sanseong Makgeolli are made using marine products and grains. Thirdly, during Japanese occupation, fish cake and sliced raw fish was enjoyed by residence in Busan. And finally, Milmyun and Pork Soup, the food made by refugees who came down to Busan and settled down during the 1·4 retreat. The local cuisine, which represents an area, goes beyond simply being eaten, enjoyed, and consumed as a commodity, and is a symbol of the geographical and historical characteristics of the area.

• Journal of Korean Academy of Nursing
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• v.21 no.2
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• pp.129-149
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• 1991

Circadian rhythm is entrained in the 24-hour time interval by periodic factors in the environment, known as zeitgeber. But most rotating work schedules are outside the range of the entrainment of the pacemaker timing the human circadian sleep - wake cycle. It has been postulated that physiological and emotional disturbances occur in most human functions when the circadian rhythm is disturbed. So application of circadian principles to the design of shift schedules can aid in maintaining the temporal integrity of the circadian system and thereby minimize for the shift worker any detrimental consequences of circadian disruption. This study was a quasi-experimental study to test the effect of shift intervals for the clinical nurse on the circadian rhythm. Twenty nurses newly employed in general units of two hospitals were selected as an experimental group and twelve college nursing students as a control group. Both groups were selected according to an established criteria using a purposive sampling technique. Ten subjects were assigned to a weekly shift group and another ten to a biweekly shift group engaged in a semi -continuous shift schedule(sunday off) with a backward direction, that is, morning -evening - night shift. The control group worked a morning shift for 42 days. Oral temperature rhythm, waking tim, sleep - wake cycle, fatigue, and mental performance were measured during the experimental period. The data collection period was from April 30, 1990 to June 10, 1990. MANOVA, paired t-test, ANOVA, and Student Newman Keuls method were used for statistical analysis. The results are summarized as follows. 1. Phase delay in the acrophase of temperature rhythm was shown according to the backward rotating shift. A complete adaptation to work on the night shift was achieved between the sixth and ninth day of the night shift. 2. There was no difference in either waking time or sleep- wake cycle according to the duration of the working day for every shift group. Significant difference was found in the waking time and the sleep -wake cycle for subjects on the morning, evening, and night shift in both of the shift groups(weekly shift group : λ＝0.121, p＜0.01, λ＝0.112, p＜0.01, biweekly shift group : λ＝0.116, p＜0.01, λ＝0.084, p＜0.01). 3. There was no difference in fatigue between the first working day and the last working day for the control group and for the biweekly shift group. In the weekly shift group, physical fatigue was significantly different for the first day and the sixth day of the night shift(t＝-2.28, p＜0.05). Physical fatigue and total fatigue on the first day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝5.79, p＜0.01, F＝4.56, p＜0.05). There was a significant difference between the shift groups and the control group(p＜0.05), Physical fatigue, neurosensory fatigue and total fatigue on the last day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝12.65, p＜0.01, F＝7.77, p＜0.01, F＝9.68, p＜0.01). There was a significant difference between the shift groups and the control group(p＜0.05). 4. No difference in mental performance was seen between the first day and the last day of work in each case. An arithmatic test on the first day of the night shift revealed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝3.79, p＜0.05). There was a significant difference between the shift groups and the control group(p＜0.05) . The digital symbol substitution test and the arithmetic test on the last day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝3.68, p＜0.05, F＝5.55, p＜0.01), and both showed a significant difference between the shift groups and the control group(p＜0.05). Accordingly, this study showed that during night duty, the waking time, sleep- wake cycle, and fatigue increased and mental performance decreased compared with morning and evening duty. It was also found that the weekly shift group had a higher fatigue score on the sixth day of night duty as compared to the -first day, but the waking time, sleep- wake cycle, and mental performance revealed no difference for the duration of the night duty or between shift groups, and complete adaptation of temperature rhythm was achieved between the sixth and ninth day of night duty. It is possible to conclude from these results that for intermediate circadian type in a healthy young woman, a biweekly shift system is more compatible with the circadian timing system than weekly shift system.

• Archives of design research
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• v.18 no.1 s.59
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• pp.167-174
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• 2005

This study is to objectively support the emotional and intuitional decision making of the designer by means of developing the supporting models and tools of color coordination. Based on the color grouping system and representative vocabularies suggested in the precedent 'Study on the Grouping System of Fabric Color,' this study suggested the manufacture of the supporting model of color coordination that could be used practically through the design of coloring group. The results of this study can be summarized as below. Firstly, 687 colors in total have been collected from the four world famous collections, the street fashion of 2002 F/W 2003 S/S Season and the representative brands in each group for five years from 1999 to 2003 in order to single out the basic colors for the purpose of composing the color groups. Secondly, 687 collected colors have been grouped into 144 colors in total through the three-step process for the extraction of coloring groups. Thirdly, the final extracted colors have been divided into , , , group by the grouping system specified in the precedent study and the said four large groups have been again subdivided into 12 small groups. Fourthly, the suggested colors in each group have established a color coordination system by introducing the concept of the crossover coordination that could be matched with other groups as well as the coordination within the group. Fifthly, we have dyed 144 colors in total that have consisted of the coloring system of four representative groups (twelve subgroups) in each methodical tone as in the above in cotton yarn, one of the representative materials in fabric fashion design industry. Besides, we have specified the symbol of the Pantone Color Book and CMYK values in each color that has consisted of the system considering the industrial characteristics of fashion as a global business and the compatibility with the related design industry. Sixthly, we have packed the completed yam made of fabrics in the designed container for the easy use of cross-coordination and have completed a color coordination system that could be easily utilized for the fashion-related working-level staffs.

• Cartoon and Animation Studies
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• s.31
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• pp.153-176
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• 2013

In the early 20th century, the some of futurist painter was attempted to represents the 'fast-paced' and 'dynamism' on a two-dimensional picture. The expression of fast-paced and dynamic for look like move image in the painting have evolved as a variety of visual symbol. Visual symbols that represent these movements were settled as the line of the most movement expression in the comic. The of Toriyama Akira gained worldwide popularity is emphasized speed and dynamism as the action genre in cartoon, is nice a data to research the line of the movement expression of cartoon. There is three terms as the action line, The speed line, the effect line on the movement expression in The glossary of in the dictionary of , but it not easy to Separate them by means similar. This study is willing to says the semantically problem of previous lines on the movement expression and to present a new alternative in order to study the line on the movement expression of . This study Separate the line on movement expression from symbolic the perspective and try to newly define by using, was classified lines of four kinds by add the afterimage line on existing the speed line, the motion line, the effect line. First, the speed line was defined as 'The line expressing the movement expression of a moving target as the concept of speed'. It on the way of expression was subdivided the direct as speed line when it alter the shape of the target and the indirect speed line when it alter the background of the target. Second, the motion line was defined as 'The line simplified the moving form or the moving path of moving target'. Third, the effect line was defined as 'the line emphasizing the movement expression of a moving target by Sensory expression or emotional expression. Fourth, the afterimage lines was defined as 'The line expressing slowly moving or swaying the movement expression of target to the afterimage effect. The terminology presented in this study will be able to help the understanding of the line on the movement expression .

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• (The) Research of the performance art and culture
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• no.39
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• pp.609-635
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• 2019

This study analyzed five official entries in the 3rd Cheong Kong Festival contest and analyzed the patterns of teen audience empathy. The tools used for this analysis were 'characters, acting, background and theme'. Firstly, characters were mostly teenagers and out-of-school teenagers, but there were other performances that focused on the relationship between teenagers and adults or focused on the youth, which the teen audience preferred. And they preferred realism acting to emotional acting and preferred musical acting to realism acting. In addition, the background of the events covered in the performance was evaluated to be like this: the closer the audience was to the youth, the higher the audience sympathized with the performance, and the closer the subject matter was to the youth's interest, the more positive it received. In summing up the opinions of the youth evaluation team, the first audience-participating Sinpa Theater, "Mr. X" was evaluated to expand the scope of teenagers to 20s and to show the negative and heavy reality as fun and beneficial one. Secondly, when it comes to non-prejudiced youth theatre "The Turtle", which have a high level of empathy, it was evaluated to shape the prejudice about others through the symbol of 'bag'. Thirdly, regarding the time-traveling retro-style youth theatre of the 'a jam-packed Bus', it was evaluated to be a well-made retro-style youth theatre. Regarding the 'Lunar Eclipse', which showed the aesthetic of the relationship, scenes were evaluated to be built with omission and restraint. Regarding "B Officer on and Love Letter", it was evaluated to be adapted to a musical from Hyun Jingun's novel, which was released 100 years ago. Lastly, the performance desired by the youth evaluation team was a performance with a high level of 'sympathy' and 'education'. In other words, they preferred performances that empathize with the emotions and thoughts of teenagers, and on the other hand, they wanted to see performances that allowed them to see the world broadly outside their own worlds. If youth theater is created by referring to the evaluation of youth as it is in this study, the audience will be more sympathetic to performances.

• Sim-seong Yeon-gu
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• v.32 no.1
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• pp.1-16
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• 2017

The purpose of this paper is to illustrate the nature of Objective Psyche based on island related case materials. Theoretical background starts with psychological meaning of islands, a kind affective symbol rather than cognitive image, and creation myths as the story of man's awareness of the world; Chaos as archaic identity (unconscious), islands as emergence of the ego from unconscious. In alchemical symbolism, island related to coagulatio, the operation which turns something into earth, the realm of ego. In addition, related parts of Hindu creation myths, Korean giant woman creator Sulmoonde-halmang, and legends of "Relocation of Island/Mountain" will be presented to integrate with case materials. Case A : Starts with a dream of killing a huge dragon and dead body became an island. The dragon in the water was seen as Spirit of Mercurius, the autonomous spirit, connecting of the ego with the Self. The act of killing related to Primeval being which needs to be killed to be transformed. Myths of Eskimo, The Eagle's Gift, the giant woman creator in Korea, and Marduk, the Babylonian hero will be integrated. Case B : Prior to introduce six island images in sand trays, a dream of a giant serpent (python) wound around her body will be presented to portray her situation. By relating Jung's "The Sermons to the Dead," her effort to make the solid island regarded as an act of bringing order out of original oneness (pleroma). Then stresses the importance to coagulate archetypal image Case C : A vignette of active imagination seminar where island image emerged will be described. Her endeavor of focusing on inner image related to the Hindu Creator, Cherokee creation myth, as well as Sulmoonde-halmang. As a motif of growing island, Samoan creation myth, and Legend of Mountain, Mai were incorporated. Colors in her art work regarded as expression of inner need, and importance of expressing inner feeling images as a mean to coagulate volatile emotional and spiritual content. Case D : A dream and art work of terminally ill woman; embracing the tip of the island with gushing up water will be presented. Her island and replenishing water image regard as "an immortal body," corresponds to the Philosophers' Stone for she accepted her death peacefully after the dream. Also related to "The Mercurial Fountain" in Rosarium Philosophorum, and aqua permanence, an allegory of God.