• The Journal of Korean Academy of Prosthodontics
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• v.37 no.4
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• pp.454-464
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• 1999

The metal ceramic crown is currently the most popular complete veneer restoration in dentistry, but in many cases, the metal cervical collar at the facial margin is unesthetic and unacceptable. Facial porcelain margin has been used in place of it. But this dose not solve the problems, such as dark gingival discoloration and cervical opaque reflection of porcelain veneer. Recently, metal copings which were designed to terminate its labio-cervical end on the axial walls coronal to the shoulder have been clinically used to solve the esthetic problem of metal ceramic crown. But in this design, porcelain veneer of labio-cervical area which is not supported by metal may not be able to resist the stress during cementation and mastication. The purpose of this study was to evaluate fracture strength and fractured appearance of crowns according to different coping designs. A resin maxillary left central incisor analogue was prepared for a metal ceramic crown, and metal dies were made with duplication mold. Metal copings were made and assigned to one of four groups based on facial framework designs: group 1, coping with 0.5mm metal collar; group 2, metal extended to the shoulder; group 3, metal extended to 1mm coronal tn the shoulder: group 4, metal extended to 2mm coronal to the shoulder. Copings and crowns were adjusted to be same size and thickness, and cemented to metal dies with zinc phosphate cement by finger pressure. Fracture strength was measured with Instron Universal Testing Machine. Metal dies were anchored in Three-way-vice at 3mm below finish line and at $130^{\circ}$ inclined to the long axis of the crown. Load was directed lingually at 2mm below midincisal edge. Load value at initial crack and at catastrophic fracture was recorded. The results obtained were as follows : 1. Fracture strength values at initial crack were higher in groups 1, 2 than in groups 3, 4 but this difference was not statistically significant(P<0.05). 2. Conventional metal collared crown had greater catastrophic fracture strength than any other collarless crowns. 3. The greater the labial metal coping reduction, the lower the catastrophic fracture strength of crowns but when more than 1mm of labial metal reduction was done, the difference in strengths was not statistically significant(p<0.05). 4. The strongest collarless coping design was group 2.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.111-130
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• 2002

This study performed a structural questionnaire survey and non-structural interview of the ladies apparel manufacturers in Daegu on the qualification for the employees, skills required for job performance, job training, automatic manufacturing systems, and the use of computer. The results are as follows. 1. Almost all of the apparel manufacturing systems were Pair System, except one Line System in one company. In terms of outsourcing, most of the manufacturers answered “yes,” and in 1998 the outsourcing process was sewing, but in the year 2002, outsourcing has been increased :12 manufacturers(57.1%) outsourcing most of the processes except patterning, 3(14.3%) outsourcing the finish of sewing. 2. The workforce of 1998 and that of 2002 shows a significant difference(P＜. 01) between office work and management. The number of office workers has decreased from 15 down to 5.3 people. On the other hand, that of the management has slightly increased from 5.3 to 9.2 people. The number of the manual workers has decreased from 32.2 to 28.7 people. And the number of tailoring and patterning workers has slightly decreased, but the number has increased in sewing from 3.7 to 7.0 people. 3. The wage of an employee shows a significant difference between a sewing assistant(P＜. 01) and a production manager(P＜. 05), and the wage of a sewing assistant, in particular, has slightly raised from ￦905,000 to ￦1,054,000. 4. The qualifications required of employees are “cooperative human relations”(30.8％), “diligence,” and “ability for job analysis”(26.9％), and “positive thinking” (15.4％) in 1998, and “ability for job analysis”(38.5％), “cooperative human relations”(34.6％), and “positive thinking” (15.4％) in 2002. The areas for job openings are significantly different(P＜. 01) depending on the year. Job openings in the design section has increased from 1(3.8％) to 16 manufacturers (61.5％), and decreased in tailoring section from 22(84.6％) to 2 manufacturers(7.7％). Job openings in the sewing section have increased form 2(7.7％) to 6 manufacturers (23.1％). In terms of sex of the employees, there is a significant difference(P＜. 001). 19 companies(73.1％) wanted “male” in 1998, but 8 companies(30.8％) answered that they want “female” and 17 companies(65.4％) answered that “it does not matter.” About the educational background, there was a significant difference between the years. The number of the companies that want junior college graduates with an associate degree has increased(15 companies(57.7％). There was a significant difference(P＜. 05) in major of the employee. The number of the companies that want fashion majors has increased from 5(19.2％) to 20(76.9％). 5. In terms of job skills required, there was no significant difference. In 1998, “production skills” (46.2％) and “ability for job analysis” (26.9％) were required, and in 2002, “ability for job analysis” (42.3％) and “emotional skills” (26.9％). 6. In regard to training for job skills, “fashion professional training” has slightly decreased from 65.4％ in 1998 to 46.2％ in 2002, however, “training for job analysis” has slightly increased from 30.8％ in 1998 to 46.2％ in 2002, which indicates the fact that “fashion professional training” and “ability for job analysis” have been emphasized. 7. The number of the manufacturers purchased apparel CAD has increased from 1(3.8％) to 3(11.5％), and the number of the manufacturers that have no plan for purchase has increased from 16(61.5％) in 1998 to 15(57.7％), still taking up a big proportion. 8. About the use of computers in manufacturing, there is a significant difference(P＜. 05). The number of the manufacturers using computer has increased from 5(19.2％) to 15(57.7％) and that of the manufacturers which do not use computers has decreased from 17(57.7％) to 8(30.8％). 9. In the interviews with the owners of the manufacturers, they pointed that schools should give more weight on practical training courses, the invitation of experts in the specific field, complex production systems, training courses for sewing, field trip courses, and furthering specialty education, personality and vocational education.

• The Journal of Korean Academy of Prosthodontics
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• v.46 no.1
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• pp.1-11
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• 2008

Statement of problem: Over the past decade, increased demand for esthetically pleasing restorations has led to the development of all-ceramic systems. Recent reports suggest that the all-ceramic crowns have excellent physical properties, wear resistance, and color stability. In addition, numerous ceramics have excellent biocompatibility, a natural appearance, and improved physical bonding with resin composite luting agents. However, the brittle nature of ceramics has been a major factor in their restriction for universal usage. Functional occlusal loading can generate stress in the luting agent, and the stress distribution may be affected by the marginal geometry at the finish line. Tooth preparation for fixed prosthodontics requires a decision regarding the marginal configuration. The design dictates the shape and bulk of the all ceramic crowns and influences the fit at the margin. Purpose: The purpose of this study was to evaluate the stress distribution within marginal configurations of all- ceramic crowns (90-degree shoulder, 110-degree shoulder, 135-degree shoulder). Material and methods: The force is applied from a direction of 45 degrees to the vertical tooth axis. Three-dimensional finite element analysis was selected to determine stress levels and distributions. Results and conclusion: The result of stress level for the shoulder marginal configuration was more effective on stress distribution at 135-degree shoulder margin. But the stresses concentrated around at 135-degree shoulder margin. The stress decreased apically at the surface between cements and alumina core, and increased apically at the surface between alumina core and veneering porcelain.

• Journal of Dental Rehabilitation and Applied Science
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• v.16 no.1
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• pp.51-60
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• 2000

The purpose of this study was to compare the microleakage at the interface of cast post and tooth according to the type of cement. Forty anterior teeth with single root were used. The teeth were cut 2 mm coronal from the cementoeamel junction and chamfer finish line was made on 1 mm coronal from the cementoeamel junction. After the routine endodontic treatment, post space was prepared using #5.5 Parapost drill to a depth of 7 mm. After the pick up impression, core building was made to 3 mm of clinical crown with burnout wax, then post and core was cast with nonprecious metal. The teeth were divided into four groups of ten each. In Group I, post and core were cemented with Fleck's(Zinc phosphate cement) In Group II, post and core were cemented with Fuji I(Glass ionomer cement) In Group III, post and core were cemented with Superbond C & B(Composite resin cement) In Group IV, post and core were cemented with Panavia 21(Composite resin cement) All cemented teeth were stored in normal saline at $37^{\circ}C$ for 7 days and thermocycled from $5^{\circ}C$ to $55^{\circ}C$ for 500 cycles with a dwell time of 30 seconds. After thermocycling, teeth were immersed in 1% Basic fuchsin dye for 48 hours. All 40 teeth were then embedded in the epoxy resin and cut buccolingually with a cutting instrument. The degree of penetration of dye at interface was graded on a scale of 0 to 4 using a stereomicroscope at 25 to 40 times magnification. Through the findings of this study, the following conclusion were obtained. 1. All the groups showed the microleakage at the interface of cast post core and tooth. 2. Group I showed the highest microleakage score among the groups with a significant difference(p<0.05). 3. Group II showed higher microleakage score than Group III and Group IV with a significant difference(p<0.05). 4. Group IV showed the lowest microleakage score but there were no significant difference with Group III(p>0.05).

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.168-184
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• 2022

This paper examined the construction techniques of the earthen fortifications in the Hanseong Period of Baekje Kingdom, which has been researched most frequently among the Three Kingdoms. The construction processes of the Earthen Fortifications were reviewed and dividing into 'selection of location and construction of the base', 'construction of the wall', and 'finish, extension and repair'. The results show that various techniques were mobilized for building these earthen fortifications. Techniques which were adequate for the topography were utilized for reinforcing the base, and several other techniques were used for constructing the wall. In particular, techniques for wall construction may be clearly divided into those of the fill(盛土) and panchuk(版築) techniques. The fill method has been assumed since the 2000s to have been more efficient than the panchuk technique. This method never uses the structure of the panchuk technique and is characterized by a complex soil layer line, an alternate fill, use of 'earth mound(土堤)'/'clay clod(土塊)', and junctions of oval fill units. The fill method allows us to understand active technological sharing and application among the embankment structures in the period of the Three Kingdoms. The panchuk technique is used to construct a wall using a stamped earthen structure. This technique is divided into types B1 and B2 according to the height, scale, and extension method of the structure. Type B1 precedes B2, which was introduced in the late Hanseong Period. Staring with the Pungnap Earthen Fortification in Seoul, the panchuk technique seems to have spread throughout South Korea. The techniques of the fill and panchuk techniques coexisted at the time when they appeared, but panchuk earthen fortifications gradually dominated. Both techniques have completely different methods for the soil layers, and they have opposite orders of construction. Accordingly, it is assumed that both have different technical systems. The construction techniques of the earthen fortifications began from the Hanseong Period of Baekje Kingdom and were handed down and developed until the Woongjin-Sabi Periods. In the process, it seems that there existed active interactions with other nations. Recently, since studies of the earthen fortifications have been increasing mainly in the southern areas, it is expected that comparative analysis with neighboring countries will be done intensively.

• Asia pacific journal of information systems
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• v.20 no.1
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• pp.141-170
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• 2010

User created content (UCC) is created and shared by common users on line. From the user's perspective, the increase of UCCs has led to an expansion of alternative means of communications, while from the business perspective UCCs have formed an environment in which an abundant amount of new contents can be produced. Despite outward quantitative growth, however, many aspects of UCCs do not meet the expectations of general users in terms of quality, and this can be observed through pirated contents and user-copied contents. The purpose of this research is to investigate effective methods for fostering production of creative user-generated content. This study proposes two core elements, namely, reward and motivation, which are believed to enhance content creativity as well as the mediating factor and users' committement, which will be effective for bridging the increasing motivation and content creativity. Based on this perspective, this research takes an in-depth look at issues related to constructing the dimensions of reward and motivation in UCC services for creative content product, which are identified in three phases. First, three dimensions of rewards have been proposed: task dimension, social dimension, and organizational dimention. The task dimension rewards are related to the inherent characteristics of a task such as writing blog articles and pasting photos. Four concrete ways of providing task-related rewards in UCC environments are suggested in this study, which include skill variety, task significance, task identity, and autonomy. The social dimensioni rewards are related to the connected relationships among users. The organizational dimension consists of monetary payoff and recognition from others. Second, the two types of motivations are suggested to be affected by the diverse rewards schemes: intrinsic motivation and extrinsic motivation. Intrinsic motivation occurs when people create new UCC contents for its' own sake, whereas extrinsic motivation occurs when people create new contents for other purposes such as fame and money. Third, commitments are suggested to work as important mediating variables between motivation and content creativity. We believe commitments are especially important in online environments because they have been found to exert stronger impacts on the Internet users than other relevant factors do. Two types of commitments are suggested in this study: emotional commitment and continuity commitment. Finally, content creativity is proposed as the final dependent variable in this study. We provide a systematic method to measure the creativity of UCC content based on the prior studies in creativity measurement. The method includes expert evaluation of blog pages posted by the Internet users. In order to test the theoretical model of our study, 133 active blog users were recruited to participate in a group discussion as well as a survey. They were asked to fill out a questionnaire on their commitment, motivation and rewards of creating UCC contents. At the same time, their creativity was measured by independent experts using Torrance Tests of Creative Thinking. Finally, two independent users visited the study participants' blog pages and evaluated their content creativity using the Creative Products Semantic Scale. All the data were compiled and analyzed through structural equation modeling. We first conducted a confirmatory factor analysis to validate the measurement model of our research. It was found that measures used in our study satisfied the requirement of reliability, convergent validity as well as discriminant validity. Given the fact that our measurement model is valid and reliable, we proceeded to conduct a structural model analysis. The results indicated that all the variables in our model had higher than necessary explanatory powers in terms of R-square values. The study results identified several important reward shemes. First of all, skill variety, task importance, task identity, and automony were all found to have significant influences on the intrinsic motivation of creating UCC contents. Also, the relationship with other users was found to have strong influences upon both intrinsic and extrinsic motivation. Finally, the opportunity to get recognition for their UCC work was found to have a significant impact on the extrinsic motivation of UCC users. However, different from our expectation, monetary compensation was found not to have a significant impact on the extrinsic motivation. It was also found that commitment was an important mediating factor in UCC environment between motivation and content creativity. A more fully mediating model was found to have the highest explanation power compared to no-mediation or partially mediated models. This paper ends with implications of the study results. First, from the theoretical perspective this study proposes and empirically validates the commitment as an important mediating factor between motivation and content creativity. This result reflects the characteristics of online environment in which the UCC creation activities occur voluntarily. Second, from the practical perspective this study proposes several concrete reward factors that are germane to the UCC environment, and their effectiveness to the content creativity is estimated. In addition to the quantitive results of relative importance of the reward factrs, this study also proposes concrete ways to provide the rewards in the UCC environment based on the FGI data that are collected after our participants finish asnwering survey questions. Finally, from the methodological perspective, this study suggests and implements a way to measure the UCC content creativity independently from the content generators' creativity, which can be used later by future research on UCC creativity. In sum, this study proposes and validates important reward features and their relations to the motivation, commitment, and the content creativity in UCC environment, which is believed to be one of the most important factors for the success of UCC and Web 2.0. As such, this study can provide significant theoretical as well as practical bases for fostering creativity in UCC contents.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.104-129
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• 2020

Designated as a national treasure of Korea and inscribed on the UNESCO World Heritage List, the Tripitaka Koreana at Haeinsa Temple is the world's oldest and most comprehensive extant version of the Tripitaka in Hanja script (i.e., Chinese characters). The set consists of 81,352 carved woodblocks, some of which have two or more copies, which are known as "duplicate woodblocks." These duplicates are supplementary woodblocks (bogakpan) that were carved some time after the original production, likely to replace blocks that had been eroded or damaged by repeated printings. According to the most recent survey, the number of supplementary woodblocks is 118, or approximately 0.14% of the total set, which attests to the outstanding preservation of the original woodblocks. Research on the supplementary woodblocks can reveal important details about the preservation and management of the Tripitaka Koreana woodblocks. Most of the supplementary woodblocks were carved during the Joseon period (1392-1910) or Japanese colonial period (1910-1945). Although the details of the woodblocks from the Japanese colonial period have been recorded and organized to a certain extent, no such efforts have been made with regards to the woodblocks from the Joseon period. This paper analyzes the characteristics and production date of the supplementary woodblocks of the Tripitaka Koreana. The sutra with the most supplementary woodblocks is the Maha Prajnaparamita Sutra (Perfection of Transcendental Wisdom), often known as the Heart Sutra. In fact, 76 of the total 118 supplementary woodblocks (64.4%) are for this sutra. Hence, analyses of printed versions of the Maha Prajnaparamita Sutra should illuminate trends in the carving of supplementary woodblocks for the Tripitaka Koreana, including the representative characteristics of different periods. According to analysis of the 76 supplementary woodblocks of the Maha Prajnaparamita Sutra, 23 were carved during the Japanese colonial period: 12 in 1915 and 11 in 1937. The remaining 53 were carved during the Joseon period at three separate times. First, 14 of the woodblocks bear the inscription "carved in the mujin year by Haeji" ("戊辰年更刻海志"). Here, the "mujin year" is estimated to correspond to 1448, or the thirtieth year of the reign of King Sejong. On many of these 14 woodblocks, the name of the person who did the carving is engraved outside the border. One of these names is Seonggyeong, an artisan who is known to have been active in 1446, thus supporting the conclusion that the mujin year corresponds to 1448. The vertical length of these woodblocks (inside the border) is 21 cm, which is about 1 cm shorter than the original woodblocks. Some of these blocks were carved in the Zhao Mengfu script. Distinguishing features include the appearance of faint lines on some plates, and the rough finish of the bottoms. The second group of supplementary woodblocks was carved shortly after 1865, when the monks Namho Yeonggi and Haemyeong Jangung had two copies of the Tripitaka Koreana printed. At the time, some of the pages could not be printed because the original woodblocks were damaged. This is confirmed by the missing pages of the extant copy that is now preserved at Woljeongsa Temple. As a result, the supplementary woodblocks are estimated to have been produced immediately after the printing. Evidently, however, not all of the damaged woodblocks could be replaced at this time, as only six woodblocks (comprising eight pages) were carved. On the 1865 woodblocks, lines can be seen between the columns, no red paint was applied, and the prayers of patrons were also carved into the plates. The third carving of supplementary woodblocks occurred just before 1899, when the imperial court of the Korean Empire sponsored a new printing of the Tripitaka Koreana. Government officials who were dispatched to supervise the printing likely inspected the existing blocks and ordered supplementary woodblocks to be carved to replace those that were damaged. A total of 33 supplementary woodblocks (comprising 56 pages) were carved at this time, accounting for the largest number of supplementary woodblocks for the Maha Prajnaparamita Sutra. On the 1899 supplementary woodblocks, red paint was applied to each plate and one line was left blank at both ends.