• The korean journal of orthodontics
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• v.41 no.5
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• pp.312-323
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• 2011

Objective: This study compared the bone thickness of the palate between lateral cephalogram and 3D model measurements. Methods: The subjects consisted of 30 adults (15 men,15 women) with a normal skeletal pattern and occlusion. The CT images were transformed to a 3D model, and were compared with the cephalometric image. Descriptive statistics for each variable were calculated. Results: In the 3D CT model, the mid-palatal area was the thickest part. It became thinner as the palate tapered laterally. In the male group, the thinnest portion was positioned 6 mm away from the mid-palate, while in the female group the thinnest portion was 8mm away from the mid-palate. Correlation analysis between the lateral cephalometric and 3D CT model revealed a significant correlation except in the mid palatal area and the area 2 mm lateral to the mid-palate in men, whereas there was a significant relationship in every area in the women. In both men and women, the highest correlation appeared in the area 8 mm lateral to the mid palate. Conclusions: Using regression analysis, an actual prediction of the bone thickness between the measured bone thickness of the lateral cephalometric radiograph and 3D model was made. This will provide useful information for mini-implant length selection when inserting into the palate.

• Journal of the Korean Society of Costume
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• v.20
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• pp.151-167
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• 1993

The purpose of this study is to systematize the theory of the Fashion Marketing and merchandi-sing system as well as the strategy for the Mar-keting based on the related variable. Furthermore, this study deals with development of the mark-eting strategy to the relation between consumers and industry. The content conclusion on the research can be outlined as follows : 1. In order to inverstigate how the life-style of consumers affects their sense of fashion, awa-reness of brand, and decision making process of purchase, the life-style of women consumers is classified into 15 types. (1) Acording to the different life-style types, and important difference is found in the consum-ers' sense of clothes, a unique image of outfit and its own favorite image of womanliness. (2) The consumer's awareness of a particular brand has a reasonable relationship with their brand preference and possession of the brands. (3) Their is an important discrimination acco-rding to the life-style types in their brand awar-eness and preference and possesion of brands. (4) The consumers of each life-style type show noticeable difference in the decision making pro-cess of purchase including he motive of purchase, the source of information, the cause of purchase intention, price, the frequency of purchase and the degree of satisfaction of purchased goods. 2. The merchandising system and the market positioning among the fashion industry are compared and analyzed in the following terms ; (1-1) For the purpose of establishing the target market strategy, the industry uses unreasenalbe methods to analyze the life-style of the target customers and the real customers(36%) and the aging phenomenon of brands is remarkable : as much as 37% of brands show over 5 years-old age gap. (1-2) The price setting process depends highly on the cost-plus approach. (1-3) In color planning, too many colors are used in every season(the average number is 22.3) and the investigation of the consumers' favorite color is neglected. (1-4) The manufacturers of successful brands are much likely to employ the textile designer and allow them to develop the various fabrication. (1-5) The regular rate of sales in each season is extremely low(56.04%) : the rate of the succ-essful brands is relatively high at 65%, but that of the unsuccessful as low as 51%. (1-6) 47% of brands reveal the designer-orie-nted fashion merchandising system. The successful brands, on the other hand, show a high rate of merchandiser oriented system. (2) Since the brand positioning is highly cen-tered on each brand image, styles and target age, the new data are presented in this study for the new market development. (3) To set up the target market, the mapping of images between the differentiated market and the consumers is suggersted according to the market positioning of industry and 15 types of the life-styles of consumers.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.41
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• pp.33.1-33.7
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• 2019

Background: The concept of the ideal morphology for the alveolar bone form is an important element to reconstruct or restore the in maximizing esthetic profile and functional alveolar bone restoration. The purpose of this preliminary study is to evaluate the normal alveolar bone structure to provide the standard reference and guide template for use in diagnosing for implant placement, determining the correct amount of bone augmentation in actual clinical practice and producing prostheses based on three-dimensional imaging assessment of alveolar bone. Methods: This study was included 11 men and 11 women (average age, 22.6 and 24.5 years, respectively) selected from among 127 patients. The horizontal widths of alveolar bone of maxilla and mandible were measured at the crestal, mid-root, and root apex level on MDCT (multi-detector computed tomography) images reconstructed by medical imaging software. In addition, tooth dimensions of the central incisors, canines, second premolars, and first molars of maxilla and mandible, including the horizontal width of the interdental alveolar bone crest, were also measured and statistically analyzed. Results: The horizontal alveolar bone width of the palatal side of maxilla showed a distinct increment from the alveolar bone crest to the apical region in both anterior and posterior areas. The average widths of the maxillary alveolar ridge were as follows: central incisor, 7.43 mm; canine, 8.91 mm; second premolar, 9.57 mm; and first molar, 12.38 mm. The average widths of the mandibular alveolar ridge were as follows: central incisor, 6.21 mm; canine, 8.55 mm; second premolar, 8.45 mm; and first molar, 10.02 mm. In the buccal side, the alveolar bone width was not increased from the crest to the apical region. The horizontal alveolar bone width of an apical and mandibular border region was thinner than at the mid-root level. Conclusions: The results of the preliminary study are useful as a clinical guideline when determining dental implant diameter and position. And also, these measurements can also be useful during the production of prefabricated membranes and customized alveolar bone scaffolds.

• Journal of Korean Neurosurgical Society
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• v.30 no.4
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• pp.451-455
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• 2001

Objectives : There have been several studies documenting the changing level of the conus throughout infancy and childhood, but there is only a little detailed study that documents the range of conus positions in a living adult population, especially in Korean, without spinal deformity. Methods : we made a sequential study of magnetic resonance images of the lumbar spine to determine the variation in position of the conus medullaris in 650 living korean adults population without spinal deformity who checked MRI to identify the cause of low back pain. The study population consisted of patients over the age of 16 years. A T1-weighted, midline, sagittal image was reviewed for identifying the postion of conus. This location was recorded in relation to the upper, middle, or lower third of the adjacent vertebral body or the adjacent intervertebral disc. Results : The study group consisted of 305 men(47%) and 345 women(53%) with a mean age 45.9 years(range, 16-79 years). The conus existed commonly at the middle third of L1(131cases, 20.2%), at the L1-2 intervertebral space(129cases, 19.8%), and the lower third of L1(123cases, 18.9%). The mean position of conus was the lower third of L1(range, middle third of T12 to middle third of L3). Conclusions : The mean position of conus was at the lower third of L1(range, middle third of T12 to middle third of L3). This results was same as that of foreign study. Our results of living korean adult population could allow for safe clinical procedures such as lumbar puncture, spinal anesthesia, and help to explain the differences among observed neurologic injuries from fracture-dislocation at the thoracolumbar junction.

• Imaging Science in Dentistry
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• v.46 no.1
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• pp.33-38
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• 2016

Purpose: Facial asymmetry has been measured by the severity of deviation of the menton (Me) on posteroanterior (PA) cephalograms and three-dimensional (3D) computed tomography (CT). This study aimed to compare PA cephalograms and 3D CT regarding the severity of Me deviation and the direction of the Me. Materials and Methods: PA cephalograms and 3D CT images of 35 patients who underwent orthognathic surgery (19 males and 16 females, with an average age of $22.1{\pm}3.3years$) were retrospectively reviewed in this study. By measuring the distance and direction of the Me from the midfacial reference line and the midsagittal plane in the cephalograms and 3D CT, respectively, the x-coordinates ($x_1$ and $x_2$) of the Me were obtained in each image. The difference between the x-coordinates was calculated and statistical analysis was performed to compare the severity of Me deviation and the direction of the Me in the two imaging modalities. Results: A statistically significant difference in the severity of Me deviation was found between the two imaging modalities (${\Delta}x=2.45{\pm}2.03mm$, p<0.05) using the one-sample t-test. Statistically significant agreement was observed in the presence of deviation (k=0.64, p<0.05) and in the severity of Me deviation (k=0.27, p<0.05). A difference in the direction of the Me was detected in three patients (8.6%). The severity of the Me deviation was found to vary according to the imaging modality in 16 patients (45.7%). Conclusion: The measurement of Me deviation may be different between PA cephalograms and 3D CT in some patients.

• Journal of Periodontal and Implant Science
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• v.36 no.1
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• pp.147-154
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• 2006

Surgical intervention in the posterior maxillary region requires detailed knowledge of maxillary sinus anatomy and the possible anatomical variations. This study evaluated the incidence, location of maxillary sinus septa by using radiographic (panoramic radiography and computed tomography) findings and comparison of panoramic radography with CT in antral anatomical variation. This study was based on data from 70 sinuses in partial dentate maxilla. The sample consisted of 61 patients(25 women and 36 men, with ages ranging between 19 and 77 years and a mean age of $49.4{\pm}11.3$ years) who were being treatment-planned to receive implant-supported restorations. First, the panoramic images were examined for the presence of antral septa by radiologist and examiner who don't know about CT findings. And incidence of antral septa was evaluated using an axial plane of CT image. The incidence of septa was compared between panoramic radiography and CT. The accuracy of the incidence was compared between radiologists and dentists. A total of 20 septa were found in 70 sinuses on CT image and the prevalence of one or more septa per sinus was found to be 28.6%. The assumed incidence of septa on panoramic radiography was $27.6%{\pm}2.2%$ in radiologist and $31.9%{\pm}5.8%$ in dentists. Erroneous diagnosis rate was 11.42% in radiologist and 15.96% in dentists. 40% of antral septa were located in the anterior(premolar) region, 30% of septa were located in the middle(first molar) and posterior(second molar) region separately. Prior to implant placement, it seems appropriate to consider panoramic radiography as a standard radiographic examination and periapical radiographs may be used to complete the findings in regions not sharply depicted in the panoramic radiograph. And cross-sectional imaging should be used in sites with severe bone loss and close proximity of the maxillary sinus.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Journal of Korean Neurosurgical Society
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• v.67 no.4
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• pp.442-450
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• 2024

Objective : Cerebral hyperperfusion syndrome (CHS) manifests as a collection of symptoms brought on by heightened focal cerebral blood flow (CBF), afflicting nearly 30% of patients who have undergone superficial temporal artery (STA)-middle cerebral artery (MCA) anastomosis. The aim of this study was to investigate whether the amalgamation of magnetic resonance imaging (MRI) fluid-attenuated inversion recovery (FLAIR) and apparent diffusion coefficient (ADC) imaging via MRI can discern cerebral hyperemia after STA-MCA anastomosis surgery. Methods : A retrospective study was performed of patients who underwent STA-MCA anastomosis due to Moyamoya disease or atherosclerotic steno-occlusive disease. A protocol aimed at preventing CHS was instituted, leveraging the use of MRI FLAIR. Patients underwent MRI diffusion with FLAIR imaging 24 hours after STA-MCA anastomosis. A high signal on FLAIR images signified the presence of hyperemia at the bypass site, triggering a protocol of hyperemia care. All patients underwent hemodynamic evaluations, including perfusion MRI, single-photon emission computed tomography (SPECT), and digital subtraction angiography, both before and after the surgery. If a high signal intensity is observed on MRI FLAIR within 24 hours of the surgery, a repeat MRI is performed to confirm the presence of hyperemia. Patients with confirmed hyperemia are managed according to a protocol aimed at preventing further progression. Results : Out of a total of 162 patients, 24 individuals (comprising 16 women and 8 men) exhibited hyperemia on their MRI FLAIR scans following the procedure. SPECT was conducted on 23 patients, and 11 of them yielded positive results. All 24 patients underwent perfusion MRI, but nine of them showed no significant findings. Among the patients, 10 displayed elevations in both CBF and cerebral blood volume (CBV), three only showed elevation in CBF, and two only showed elevation in CBV. Follow-up MRI FLAIR scans conducted 6 months later on these patients revealed complete normalization of the previously observed high signal intensity, with no evidence of ischemic injury. Conclusion : The study determined that the use of MRI FLAIR and ADC mapping is a competent means of early detection of hyperemia after STA-MCA anastomosis surgery. The protocol established can be adopted by other neurosurgical institutions to enhance patient outcomes and mitigate the hazard of permanent cerebral injury caused by cerebral hyperemia.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.1-15
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• 2006

The purpose of this study is to present a new viewpoint in look by closely examining fashion and look through the past, present, and future. Specifically, the concept of time is studied and fashion is considered based upon the concept of time, finally, looks in fashion related to time are analysed. For this study, the literature of retro, modern, contemporary, futuristic looks that express the past, present, and future, and the classic look, the popularity of which transcends the concept of time was considered focusing on 20th century women's fashion. Design characteristics of these looks were analyzed utilizing photographs of collection images. The results of the study are as follows: first, although the retro look of different periods regularly rotate and appear, they change and develop in new and various ways depending on the Periodic background of the time they appear in, and thus show simultaneously the cyclical and straight nature of time. Second, the modern look includes not only the moaning of time concept of the present, but also of interpreting anew the formal significance of modernism in the present. In other words, because it cyclically repeats the times of past modern periods, the look can be said to focus on the cyclical nature of time. Third, the contemporary look is a style that expresses current time most exactly as it exists, and it can be said to be the look in which current time is most vividly expressed. Fourth, the time concept in futuristic look is a subjective time that selectively accommodates and expresses the objective time of the future which has not yet come, and that can be the look's most important point. Last, the classic look possesses an objective value that transcends the concept of time, and it keeps returning, showing the cyclical nature of time. The closer this study came to the present, it could be seen that a look communicated more complex meanings, Influenced by periodic phases such as diversification, individualization, and eclecticism, and that while it could not be defined as any one look, various elements were expressed eclectically by being mixed and matched with each other, and it could utilize more natural forms, colors, and materials.

• The Journal of Art Theory & Practice
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• no.8
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• pp.123-144
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• 2009

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more 'heroic' 'Star-Subject' than before by dismantling the modern 'Hero-Subject'. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness 'self-confinement' and 'lasting absence of exit' phenomena in postmodernism ideology and practice. We have to deal postmodernism as an 'ideology which closes the discussion for the future' in the context of 'absence of way' at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the 'absence of prospection' as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.