• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.10-19
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• 2021

This study investigated the actual state and transformation of the major garden ornaments in Changdeokgung Palace(昌德宮) in the modern and contemporary period, focusing on Nakseonjae(樂善齋), Juhamnu(宙合樓), Jondeokjeong(尊德亭), and Daebodanji (大報壇址). This study can be used as useful data for establishing the restoration and maintenance plan of the garden ornaments in Changdeokgung Palace, and the main results of the study can be summarized as follows. First, according to a photo taken by the Czech Vráz, in 1901, a total of six garden ornaments, including a stone pond and odd-shaped stones, were located in the backyard of Nakseonjae. Since liberation, arbitrary relocation of garden ornaments has frequently occurred, and in the process, two odd-shaped stones, originally located on the first floor of the terraced flower bed, have been transferred to the backyard of Gyeonghungak(景薰閣). Second, unlike the late Joseon Dynasty when 「Donggwoldo(東闕圖)」 was produced, odd-shaped stones were arranged symmetrically in the backyard of Juhamnu in the early 1900s. It was a traditional style garden ornament with similar appearance, size, and design. However, all the odd-shaped stones in the backyard of Juhaumnu were relocated to other places in the 1970s and 1980s. One is located at the rear of Aeryeonjeong(愛蓮亭) through the entrance of Bingcheon(氷泉) and the vicinity of Geumcheongyo(錦川橋), and the other remains in front of the Yeongyeongdang Jangnakmun(演慶堂 長樂門). Third, among the garden ornaments located in the area of Jondeokjeong in the past, one odd-shaped stone is now relocated around the stone bridge near the pavilion and the Yeonghwadang(暎花堂) with its components separated. The bondstone near Yeonghwadang was relocated in 1990 for the purpose of installing an imitation of Angbuilgu(仰釜日晷). Another odd-shaped stone has been relocated to the front door of the Secret Garden(後苑), and now it is difficult to grasp the location. Fourth, the two bondstones remaining in the Daebodanji were actually building materials that were used as the foundation stone for the entrance pillars of the Yi Royal Office Building(李王職廳舍) during the Japanese colonial period. After liberation, the Yi Royal Office Building was reorganized into Imperial Estate Administration Office(皇室財産事務總局), and when the office building was burned down in 1960, the stone statues and foundation stones placed on the stylobate were relocated to the Daebodanji. The bondstone at Daebodanji is a representative example of construction materiasl being mistaken for gaeden ornaments.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.381-392
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• 2020

This study identified the impact of environmental factors and job satisfaction of health organization workers on a reduction rate depending on their lifestyles. The research used 575 questionnaires as final assay data, which were obtained by health care workers who work for hospitals or higher-level hospitals, which are located in Jeolla-do through direct survey method. The results are as follows. First, with the result, which is an analysis of differences in environmental factors, job satisfaction, and reduction rates (inpatient/outpatient), there was a significant difference in the environmental factors of medical institutions based on the age, marital status, job position, and the years of employment, and there was also a significant difference in job satisfaction based on the age, academic career, marital status, occupational description, and monthly income. In an inpatient reduction rate, a significant difference was shown in the age, academic career, and occupational description. In an outpatient reduction rate, a significant difference was shown in the age, marital status, job position, and the years of employment. Second, with the results of correlation analysis, which are determinations of a relationship between environmental factors, job satisfaction, and reduction rate, it was figured out that there is a negative correlation between inpatient reduction rate and job satisfaction, a negative correlation between inpatient reduction rate and the environmental factors, and also a negative correlation between outpatient reduction rate and job satisfaction. There is a significant positive correlation between the outpatient reduction rate and environmental factors, and between job satisfaction and environmental factors. Third, with the results of the impacts that the environmental factors and job satisfaction have on the reduction rate, there was a negative influence of the environmental factors on the inpatient reduction rate, and also a negative influence of job satisfaction on the inpatient reduction rate. There was a significant positive influence of the environmental factors on the outpatient reduction rate, but there was no negative influence of job satisfaction on the outpatient reduction rate.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• (The) Research of the performance art and culture
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• no.42
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• pp.47-75
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• 2021

This thesis looks into the interpretation of the Korean War and mystery genre in Korea in the 1970s by analyzing the special drama , in which the theme was directly related to the Korean War, airing through MBC in 1979. It begins by finding the change in direction in the 1970s when the world of TV was dictated through the heavy censorship and the memory of the war by the government. It also looks at the intentions of the producer who was taking in the new way and the viewers who also accepted this drama and its reflections. In order to gain some insights into these issues, it compares between the drama "The Last Witness" and the original novel by Seong-jong Kim who holds the same time to see the way in which this is dramatized. The drama, "The Last Witness", was produced with a plan to generate a high-quality special drama which combined both artistry and sense of purpose. Nevertheless, as watching TV became a leisurely past-time during this period, TV dramas become more aggressive and suggestive in order to attract viewers. This ultimately was encored with obstacles due to the regime and the heavy censorship at the time. The genre of special drama that is well known in South Korea, is designed as an art form to satisfy both their unique artistry and its purpose. The conflict is seen between the key elements of the artistic drama crated by the producers and the 'encouraged' elements that often are needed to engage the viewers. Thus, more often than not, special dramas defeat the original intention of national harmony, encouraged by the regime. This is due to the 'novelty' aspect which grows from the effort of bringing enjoyment to viewers whilst also trying to achieve the artistic drama to life. Alongside this, crime element in this drama is designed in a way that visually embodies the process of deduction, becoming a new possibility to secure the reality of the times. However, it was also a paradoxical existence since it was indicated as an example of unrefined culture that lost its original intention. In that way, it is worth to think that detective suspense stories, which were not popular in Korea, influenced viewers as a tv drama series in the 1970s through the various elements that compose the genre. They went through a process of transplantation and acceptance whilst also attempting to satisfy the viewers and their encouraged elements to engage them. As is well known, crime drama in Korea has its own style by mixing anticommunism and detective reasoning. This combination is found in the way in which the genre naturally forms through the elements selected and excluded in the dramatization of "The Last Witness". The point is that the special drama "The Last Witness" can be seen as an intermediate form that shows the tendency of transformation from the detective reasoning form alongside the crime aspects as TV dramas began to include anticommunism messaging and investigation in the 1970s. In conclusion, when the detective reasoning is used as an element in a TV drama, it shows the trust of the public system and it constantly seeks the possibility of circumventing the political interpretation. The memories of the war is seen as a tool that neutralizes the dismal imaginations inscribed on the dark side of society and the system. As a result, "The Last Witness", broadcasted at the end of the Yushin regime in Korea, is a strange result which combines the logic of a special drama and the encouraged characteristics of television dramas. The viewers' desire which is the discussion about the hidden traces from the texts needs to be restored again.

• MISULJARYO - National Museum of Korea Art Journal
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• v.101
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• pp.12-46
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• 2022

Completed in 1467, the Thirteen-story Stone Pagoda of Wongaksa Temple is the last Buddhist pagoda erected at the center of the capital (present-day Seoul) of the Joseon Dynasty. It was commissioned by King Sejo, the final Korean king to favor Buddhism. In this paper, I aim to examine King Sejo's intentions behind celebrating the tenth anniversary of his enthronement with the construction of the thirteen-story stone pagoda in the central area of the capital and the enshrinement of sarira from Shakyamuni Buddha and the Newly Translated Sutra of Perfect Enlightenment (圓覺經). This paper provides a summary of this examination and suggests future research directions. The second chapter of the paper discusses the scriptural background for thirteen-story stone pagodas from multiple perspectives. I was the first to specify the Latter Part of the Nirvana Sutra (大般涅槃經後分) as the most direct and fundamental scripture for the erection of a thirteen-story stone pagoda. I also found that this sutra was translated in Central Java in the latter half of the seventh century and was then circulated in East Asia. Moreover, I focused on the so-called Kanishka-style stupa as the origin of thirteen-story stone pagodas and provided an overview of thirteen-story stone pagodas built around East Asia, including in Korea. In addition, by consulting Buddhist references, I prove that the thirteen stories symbolize the stages of the practice of asceticism towards enlightenment. In this regard, the number thirteen can be viewed as a special and sacred number to Buddhist devotees. The third chapter explores the Buddhist background of King Sejo's establishment of the Thirteen-story Stone Pagoda of Wongaksa Temple. I studied both the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms (翻譯名義集) (which King Sejo personally purchased in China and published for the first time in Korea) and the Sutra of Perfect Enlightenment. King Sejo involved himself in the first translation of the Sutra of Perfect Enlightenment into Korean. The Dictionary of Sanskrit-Chinese Translation of Buddhist Terms was published in the fourteenth century as a type of Buddhist glossary. King Sejo is presumed to have been introduced to the Latter Part of the Nirvana Sutra, the fundamental scripture regarding thirteen-story pagodas, through the Dictionary of Sanskrit-Chinese Translation of Buddhist Terms, when he was set to erect a pagoda at Wongaksa Temple. King Sejo also enshrined the Newly Translated Sutra of Perfect Enlightenment inside the Wongaksa pagoda as a scripture representing the entire Tripitaka. This enshrined sutra appears to be the vernacular version for which King Sejo participated in the first Korean translation. Furthermore, I assert that the original text of the vernacular version is the Abridged Commentary on the Sutra of Perfect Enlightenment (圓覺經略疏) by Zongmi (宗密, 780-841), different from what has been previously believed. The final chapter of the paper elucidates the political semantics of the establishment of the Wongaksa pagoda by comparing and examining stone pagodas erected at neungsa (陵寺) or jinjeonsawon (眞殿寺院), which were types of temples built to protect the tombs of royal family members near their tombs during the early Joseon period. These stone pagodas include the Thirteen-story Pagoda of Gyeongcheonsa Temple, the Stone Pagoda of Gaegyeongsa Temple, the Stone Pagoda of Yeongyeongsa Temple, and the Multi-story Stone Pagoda of Silleuksa Temple. The comparative analysis of these stone pagodas reveals that King Sejo established the Thirteen-story Stone Pagoda at Wongaksa Temple as a political emblem to legitimize his succession to the throne. In this paper, I attempt to better understand the scriptural and political semantics of the Wongaksa pagoda as a thirteen-story pagoda. By providing a Korean case study, this attempt will contribute to the understanding of Buddhist pagoda culture that reached its peak during the late Goryeo and early Joseon periods. It also contributes to the research on thirteen-story pagodas in East Asia that originated with Kanishka stupa and were based on the Latter Part of the Nirvana Sutra.

• Journal of Korean Historical Folklife
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• no.46
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• pp.195-237
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• 2014

Palsapum are ornaments to reveal the purpose of commander of three naval forces as well as symbols to remember the greatness of admiral Yi, Sun-Shin. In 1966, ther were designated as a treasure No. 440 based on their value; however, they have not received attention from academia because they are relics from China. This study compares and analyzes the document, paintings, and relevant references from Korea and China focusing on Palsapum, understands their formal characteristics, and examines their historical value such as years and location of creation. As a result, the study determines five of them are original, but three of them were newly created by the later generations. The five, Dodogin (都督印, Commander's seal)·Yeongpae (令牌, Commander's tablet)·Gwido (鬼刀, Replica of the devil sword)·Chamdo (斬刀, Replica of the decapitation swor d)·and Gognapal (bugle) were created by Ming Dynasty before 1598, and delivered by the hands of General Chen Lin. The other three, Dokjeongi (督戰 旗, Battle flag)·Hongsoryeonggi (紅小令旗, Commander's flag)·and Namsoryeonggi (藍小令旗, Commander's flag), were created in 19th century by Joseon Dynasty. After analysis on the former relics, the study determines that they are not official relics with the dignity of Ming Dynasty but personal relics with regional characteristics; in other words, Palsamun are not the royal gifts from Emperor Shenzong to Admiral Yi, Sun-Shin. but personal momentoes left by General Chen Lin in the Tongjeyoung to celebrate the admiral. The names, variety, numbers, and appurtenances of Palsapum have been changed with time as follows. First, the scholars of Jeseon in 17the century only focused on Dodogin. It was certainly created in Ming Dynasty; however, it was a personal stamp, so considered to be not from the emperor but from General Chen Lin. Second, Palsapum was called Palsamul and consisted of 14 pieces of 8 kinds in 18the century, ; it is confirmed on the 「Dosul(圖說, stories with pictures of」 『Yi Chungmugong Literary Collection』 The sizes of five relics including Dodogin are similar to the records, but their patterns and shapes are exotic, or cannot be found in Joseon. Thus, they reflect the regional characteristics of Guangdong province. Third, they were called Palsapum, and consisted on 15 pieces of 8 kinds in 19th century; it is confirmed on , a sixteen-fold folding screen drawn by Shin, Gwan-Ho in 1861. The stamp box, tablet bag, and three flags were newly created to engrave Joseon style letters and patterns on damageable materials such as leather and cloth. The relics easy to be destroyed have been renewed even after 19th century. Last, there are many misunderstandings about Palsapum by governmental indifference and improper management of records even though they were designated as a treasure in very early times. Thus, authorities should be concerned with Palsapum to provide the measures for stable maintenance of the relics; this will let people remember not only the history of cooperation between Korea and China to stop the Japanese ambition, but also Admiral Yi, Sun-Shin and General Chen Lin to bring victory in Japanese invasions of Korea.

• Women's Health Nursing
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• v.6 no.3
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• pp.439-452
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• 2000

This study sought to figure out women's needs during early postpartum for developing adequate nursing intervention toward postpartal women's healthy adaptation. A convenience sample of 89 women who are in the early postpartal period and admitted in a university hospital located in Seoul, Korea was studied from July 1, 1999 to August 13. 1999. 1. The age group of 26-30 years was 52.8% and the level of education above high school 91%. 67.6% of women had no job, 62.9% had experienced one time of delivery, and 52.8% had no experience of abortion. 2. 31.5% of women received prenatal education, 44.9% only postpartal education. 77.5% of women planned breast-feeding, and 53.9% of women had an experience of breast-feeding during hospital stay. For the feeling of confidence related to the self-care, 27% only expressed 'yes. I have' and 59.5% 'just a little bit'. For the feeling of confidence related to the baby rearing, 29.2% only expressed 'yes. I have' and 60.7% 'just a little bit'. 3. The rate of postpartal women's mother as a preferred non-professional care giver was the highest, 75.3%. The rate of the style of Sanhujori highly preferred and planned at this time was at postpartal women's maiden home or her home with mother, 58.4%, 47.7% respectively. It shows that women still wish to have traditional Sanhuiori at home. 4. The mean of nursing need of postpartal women was 4.25% and it means that universally the degree of nursing need during postpartum is still high. General nursing need (4.29) was higher than that of traditional Sanhujori (4.09), however, the need of Sanhujori is still high. 5. Specifically, the degree of nursing need according to the category of needs was 'educational need for baby rearing,' 4.43; 'emotional-psychological care', 4.41; 'environmental care,' 4.31; 'self-care,' 4.14; and 'physical care,' 3.85 in rank. The educational need core of the specific method about Sanhuiori (4.35) was second to the highest among 15 items of self-care. 6. The related factors to the degree of nursing need were age to physical care; educational level, plan of breast feeding and experience of breast feeding during hospital stay to emotional-psychological care; and the feeling of confidence in baby rearing to environmental care. 7. There was highly positive correlation between the degree of traditional Sanhujori need and general care need(r=.77). This result strongly reflects that there is a necessity of professional care givers' capability to consider the integrative care reflecting the socio-cultural need for women's healthy adaptation during postpartum. It provides a challenge to the professional care givers to research further on the effects of Sanhuiori on the health status, health recovery after abortion or delivery from the various aspects through the cross-sectional and longitudinal research for the refinement of the reality of Sanhuiori not only as cultural phenomenon but as an inseparable factor influencing on women's postpartal healthy adaptation and for the appropriateness of intervention and quality of care for desirable health outcome.

• The Korean Journal of Ecology
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• v.17 no.3
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• pp.355-366
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• 1994

The purpose of this study was to investigate the changes of water quality and the patterns of self-purification with season in Gokneung stream. The vegetation in the ecosystem around Gokneung stream was dominated by Quercus species. In the physicochemical analysis based on the contents of DO, BOD, conductivity and total phosphorus, the upstream seemed to have been polluted, but the downstream was self-purified. In biological investigation by bentic macroinvertebrates, the result was similar to that in the physicochemical analysis. The self-purification constant based on BOD of the upstream, 1.013, was the highest. In the self-purification constants with month, that of September was 0.995 and that of January was 0.272. These results indicated that the self purification capacities of spring and autumn were larger than those of winter and summer in Gokneung stream.

• Sleep Medicine and Psychophysiology
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• v.15 no.2
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• pp.87-93
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• 2008

Introduction: Although it is well known that medical students are not getting an adequate amount of sleep, there have been only few studies on the sleep patterns of medical students in Korea. Therefore, the present study aimed to investigate the life style and sleep patterns of Korean medical students and the impact they have on the students' academic performance. Methods: A questionnaire package was administered to the $3^{rd}$ year medical students at the Seoul National University to examine their sleep patterns on weekdays and weekends. It consisted of questions asking about their lifestyles as well as Pittsburgh sleep quality index (PSQI) and GPA (Grade Point Average) that are considered relevant to their sleep patterns. A total of 110 students (85 males and 25 females, mean age $24.4{\pm}20.6$) responded to the survey and the result was analyzed using the independent t-test, the chi-square test, the paired t-test, Pearson's rank correlation and ANOVA. P-values of less than 0.05 were considered statistically significant in all analyses. Results: The weekend bedtime was significantly delayed (01：24 on weekday；03：12 on weekend; t=-5.23, p<0.01), the weekend rise time was delayed (07：36 on weekday；10：30 on weekend ; t=-24.48, p<0.01) and the total sleep time was increased on weekends (5：57 on weekday；8：17 on weekend ; t=15.94, p<0.01). They wished to sleep for 7 hours 6 minutes which was different from their actual weekday total sleep time (t=-11.41, p<0.01). The poor sleeper group had lower GPAs than the good sleeper group (t=2.05, p<0.05). The GPA of medical students were negatively correlated with age (r=-0.23, p<0.05), daily amount of smoking (r=-0.78, p<0.01), total amount of smoking (r=-0.75, p<0.01), weekday sleep latency (r=-0.23, p<0.05), weekend sleep latency (r=-0.23, p<0.05) and PSQI score (r=-0.30, p<0.01). Conclusion: Medical students were experiencing a lack of sleep during weekdays as they have a later bedtime and earlier rise time, and consequently had more hours of sleep on weekends. Overall, the responded students were experiencing poor sleep quality, and the GPAs of the poor sleeper group were lower than those of the good sleeper group.