• Development and Reproduction
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• v.11 no.3
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• pp.205-217
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• 2007

As an initial step toward better understanding of the molecular mechanism of estrogen-dependent growth in myoma, an optimal primary cell culture condition has been developed and examined by this study. Myoma and myometrium were cultured by two different methods. Culture stability and $E_2$-responsiveness in stable culture were studied. The culture of digested tissue pieces(Method 2) was found to be a stable culture method for the myoma and myometrium showing a favorable response to estrogen. mRNA expression of PR, IGF-1 and IGF-1 receptor genes was enhanced by $E_2$. The gene responses to $E_2$ were higher in myoma compared with myometrium. Moreover, these responses were more expressive in tissues than in the surrounding cells in primary culture of normal myometrium and myoma, implying a vital role of cell communication through the extracellular matrix in maintaining the estrogen-responsiveness. The development of an improved cell culture system for myoma provides an in vitro tool to further investigate the basis of the tumor formation.

• Journal of the Korea Convergence Society
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• v.8 no.4
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• pp.273-278
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• 2017

Contemporary art make-up is being widely developed in line with the trends of individualization and differentiation departing from basic desires or logical thinking about the desires of human beings who ultimately pursue beauty and experiencing diversified convergence and integration befitting customer needs. Cubism that has been playing a central role at the center of art history in the $20^{th}$ century can act as a good material based on creativity with regard to expression of the art make-up. In this regard, the study was focused on creating new concepts of design and novel areas of expression by combining expressive methods of cubism with art make-up to suggest an art mask. As for a method of the study, cubism and art make-up were examined based on preceding studies, Internet data and technical books, and the expression method of cubism was divided into plural points of view, partition of shape and collage and motivated the works of Picasso for the purpose of art mask-converged design. As a result of the study, it was found out that the expression method of cubism was applicable to the art make-up, and creative art make-up converged design could be generated to make a suggestion. In this regard, it is hoped that further studies will be facilitated and that this study can be instrumental in developing art make-up design.

• The Journal of Internal Korean Medicine
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• v.18 no.2
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• pp.332-357
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• 1997

The purpose of study is for the defining the diagnostic criteria of Jung-Pung (中風) which are confused or unclear partially or Oriental Medicine. The results were obstained as follows ; 1. The Diagnosis of Jung-Pung (中風) can be accomplished by the name of disease, symptomatic classification, Byun-Jeung (辨證), stage, assessment of neurological deficit. 2. The various expressive way on the names of Jung-Pung (中風) can be unified as Jung-Pung (中風). 3. The symptomatic classification of Jung-Pung (中風) can be Jung-Kyung-Rak (中經絡) and Jung-Jang-Bu (中臟腑) by unconsciousness. 4. The subclassification of Jung-Kyung-Rak(中經絡) is Kanyangpokhang Punghwa sangyo (肝陽暴亢 風火上擾證), PungDamErHyul BiJoMaecRak (風痰瘀血 痺阻脈絡證), DamYeolBusil PoongDamSangYo (痰熱腑實 風痰上擾證), KiHerhyulEr (氣虛血瘀證), YeumHer PungDong (陰虛風動證) and Jung-Jang-Bu (中臟腑) is PungHwa SangYo CheongGeu (風火上擾淸竅證), DamSeupMongSac ShimSin (痰濕蒙塞心神證), DamYeolNaeFe ShimGeu (痰熱內閉心竅證), WonKiFaeTal ShimSinChakRan(元氣敗脫心神錯亂證) 5. The classification of stages can be divided as stroke stage, convalescent stage, complicated deficit stage. 6. In Oriental Medicine there were few assessment methods of neurological deficit. Therefore we need to develop new assessment system or modification of Western Medicine. The Standardization in the diagnosis of Jung-Pung (中風) has not been well established, even though we had have many clinical experiences. So it is necessary to make a accurate diagnosis that can be done by multiple diagnostic assessment. Therefore the accurate diagnosis of Jung-Pung (中風) can be done by 5 factors, they are the name of diagnosis, symptomatic classification, Byun-Jeung (辨證), stage, the assessment of neurological dificit. And it can be applied in the planning of treatment.

• Korean Journal of Psychosomatic Medicine
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• v.24 no.2
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• pp.157-164
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• 2016

Objectives : The objective of this study was to investigate the characteristics of language profiles according to whether or not Korean children with autism spectrum disorder(ASD) also have ADHD, and to examine the relationship with executive function. Methods : Participants in the study were boys with ADHD aged 6 to 11 years who visited the clinic from January 2012 to December 2013. In this study, 25 boys with ASD were included, and completed scales included the Korean version of Autism Diagnostic Interview-Revised(K-ADI-R), Korean version of Autism Diagnostic Observation Schedule(K-ADOS), Korean ADHD Rating Scale(K-ARS), and Korean-Conners' Parent Rating Scale(K-CPRS). They also completed neuropsychological tests and assessed language profiles. Patients were categorized into two groups(with ADHD and without ADHD). T-test and Multivariate analysis of covariance (MANCOVA) was used for analysis. Results : Statistically, no difference was found in receptive and expressive language ability between the ASD groups with and without ADHD. However, a lower score in Test of Problem solving(TOPS) was observed for ASD with ADHD than for ASD without ADHD, with problem solving and finding cues showing significant differences. Conclusions : These findings suggest that language profiles in the ASD group without ADHD could be similar to those in the ASD group with ADHD, but comorbid ADHD could lead to more difficulty in linguistic ability for problem solving and could be related with executive function of the frontal lobe.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.34 no.4
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• pp.258-267
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• 2023

Objectives: This study aimed to compare the utility of the Psychoeducational Profile-Revised (PEP-R), Korean Wechsler Preschool and Primary Scale of Intelligence, Fourth Edition (K-WPPSI-IV), and Vineland Adaptive Behavior Scale, Second Edition (VABS-II) for evaluating developmental disabilities (DD) in preschool children. Additionally, we examined the correlations between the PEP-R, K-WPPSI-IV, and VABS-II. Methods: A total of 164 children aged 37-84 months were assessed. Children's development was evaluated using the PEP-R, K-WPPSI-IV, VABS-II, Preschool Receptive-Expressive Language Scale, and Korean Childhood Autism Rating Scale, Second Edition. Results: Of the 164 children, 103 had typical development (TD) and 61 had DD. The mean of the PEP-R Developmental Quotient (DQ), K-WPPSI-IV Full-Scale Intelligence Quotient (FSIQ), and VABS-II Adaptive Behavior Composite (ABC) scores were significantly higher in the TD group than in the DD group (p<0.001). The estimated area under the curve of the PEP-R DQ, K-WPPSI-IV FSIQ, and VABS-II ABC scores was 0.953 (95% confidence interval [CI]=0.915-0.992), 0.955 (95% CI=0.914-0.996), and 0.961 (95% CI=0.932-0.991), respectively, which did not indicate a statistically significant difference. The PEP-R DQ scores were positively correlated with the K-WPPSI-IV FSIQ (r=0.90, p<0.001) and VABS-II ABC scores (r=0.84, p<0.001). A strong correlation was observed between the K-WPPSI-IV FSIQ and VABS-II ABC scores (r=0.89, p<0.001). Conclusion: This study found that the PEP-R, K-WPPSI-IV, and VABS-II effectively distinguished DD from TD in preschool children, and no significant differences in utility were observed between them.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.9 no.1
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• pp.54-66
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• 1998

Objectives：This study was to investigate the impact of parental psychiatric disorder on offspring's depression, anxiety, self concept, perception of familial relationship compared with offspring of normal control. In offsprings of parents with psychiatric disorder, this study explored whether their psychopathology, self concept, and perception of familial relationship were influenced by parent’s sex, onset time of parent’s psychiatric disorder and parent’s psychiatric diagnosis. Methods：52 offsprings aged 10-18 years of 39 psychiatric outpatient were surveyed from June, 1997 to April, 1998 and completed several questionnaaire, including Korean from of the Family Environment Scale, Korean form of the State-Trait Anxiety Inventory for Children, Korean form of Kovac’s Children’s Depression Inventory, and Korean form of Piers-Harris Children’s Self-Concept Scale. Their score was compared with offsprings’ of normals. In offsprings of parents with psychiatric disorder, they were compared according to parent’s sex, onset time of parent's psychiatric disorder and parent’s psychiatric diagnosis. Results：The results were as follows：1) Offsprings of parents with psychiatric disorder reported higher level of state anxiety and lower level of the FES expressive subscale than offsprings of normals(p<0.05). But they reported higher level of PHCSCS intellectual & school status subscale and popularity subscale than normals(p<0.05). 2) There were no differences in anxiety, depression, self concept, and perception of familial relationship between patient’s sex. 3) Offsprings less than 3 years old when parent’s psychiatric disorder had developed showed higher level of trait anxiety and lower level of FES control subscale than offsprings more than 3 years old (p<0.05). 4) There were no diferences in anxiety, depression, self concept, and perception of familial relationship between patient’ diagnostic groups(schizophrenia spectrum disorder-mood disoderneurosis). Conclusion：The finding indicated that self reported scale of anxiety and depression showed no significant difference between offsprings of psychiatric patients and offsprings of normals. In offsprings of parents with psychiatric disorder, parent’s sex and psychiatiric diagnosis had no influence on offspring’s psychopathology. But the offspring’s age(before 3 years old) when the parent’s psychiatriric disorder developed had influence on higher level of offspring’s trait anxiety. For further high risk group study, direct interview and evaluation of parent-child agreement or teacher-child agreement will be needed in longitudinal study.

• Journal of Science of Art and Design
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• v.8
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.