• Journal of the Korean Home Economics Association
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• v.41 no.12
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• pp.229-243
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• 2003

The purpose of this study is to understand North Korean female defectors' survival strategies in China. In this research, 13 female defectors in China were interviewed. There seemed to be 6 survival strategies in the interview. They disguised themselves as if they were Chosunjok；they tried to wear fashionable clothes, to mimic Chosunjok dialect, to speak mingling Chinese words with Korean words, and to get counterfeit ID cards. They suppressed themselves from showing their angers or resentment against Chinese who looked down on them due to their illegal status, but they would seek chances to revenge on them in the future. They have survived by gelling married to Chinese, but they were reluctant to have a baby because it was not for sure what their future lives are going to be like. They were alert against people around them all the time, especially against North Korean defectors, and were conscious of their competitive relationship among themselves. Finally, some of them appeared to seek routes to immigrate to South Korea, but others who didn't yet make up their minds to immigrate to South Korea had vague anticipations of North and South Koreas to be reunified.

• Journal of The Korean Association For Science Education
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• v.32 no.9
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• pp.1405-1416
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• 2012

This study aims to analyze how pre-service science teachers' reflective thinking is presented during the microteaching process. The subjects of this study were 13 students who attended a lecture course on science teaching methods offered by the Department of Science Education of the College of Education at a national university. The simulated lessons that were performed during the microteaching process went through peer assessment and self-assessment. Then, the next set of lessons was conducted based on the assessment results. After the first set of simulated lessons, the pre-service teachers' reflection at the routine and technical levels was most remarkable in the focus dimension. In the inquiry and change dimensions, technical reflection stood out. Dialogic or transformative reflection was rarely presented. In addition, most of the pre-service teachers displayed mingling patterns of reflection levels in all of the three dimensions. The results of this study, in particular, prove that microteaching has a high level of applicability in terms of reflective thinking and instructional technology. Accordingly, there is a need for subsequent studies to create a new model that can encourage pre-service teachers' reflective thinking by structuralizing peer and self-assessment during the process of microteaching.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.59-83
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• 2006

This article was written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. This article contains, the characteristics of the style of the Adirondack rockers, the Mission style rockers in America and the European rockers. Adirondack rockers ($1850{\sim}1940$) were made in various styles out of the mingling of rustic sensibilities with the formalism of Victorian designs. They were Old Hickory chair Co. style, Westport style, bentwood rocker style of two shape and Mottville rocker style. Mission style denoted American furniture design style of the early 20th century especially the work of Gustav Stickley and Roycroft Community. Mission style rockers had a simple, rectilinear style with exposed construction techniques, unpretentious materials (usually oak, with covering of leather, canvas or plain cloth) and little or no decoration. European rockers ($1660{\sim}1918$) have come to mean rockers from the English regional chair, Thonet, J&J Kohn, Henry Van de Velde and Hoffmann. The modernism of modern furniture was affected by the characteristics of the Adirondack rockers, the Mission style rockers and European rockers.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.103-110
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• 2016

In recent years, as selling books on the internet becomes popular, the number of off-line bookstores are rapidly dwindling away. This change on the book market requires, the function and space of the bookstores should be defined again. Now bookstores are the places of experiences on cultures, world-views, and lifestyles around books. The study examines six large bookstores and finds three strategies of space expression as follow. First, Dominicanen bookstore in Maastricht which was built as a church has an expression which contrasts the old and the new as well as the sacred and the profane. Fangsuo bookstore in Chengdu creates a modern underground Sutra Depository. Here, people experience history and religion. Second, Cook & Book in Brussels has nine theme areas, each with a different selection of books, different interior decoration and special food and beverage like a theme park. Zhongshu bookshop in Shanghai has a lattice of nine reading rooms in which each unique design theme is characterized based on each book subject. Third, Cultura Bookstore in Sao Paulo is created to support social interchange. It leads people to the enormous plaza of books where people read books freely and participate in workshops, movies and all kinds of events. Daikanyama Tsutaya Books in Tokyo is composed of three white box-form pavilions which are connected by a 55-meter long aisle, called a magazine street. People walk along the street and choose concierge services as they browse magazines and books. The study finds out three strategies of design in current large bookstores to promote place-experience, which are the story-telling of history and culture, the design of theme parks, and openness for public mingling like plazas and streets. Thus, the study suggests a new paradigm in the design of bookstores in this internet age.

• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.81-90
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• 2009

This study seeks those elements that form a sense of place in Yen-Ben Street, which represents a typical ethnic enclave in Seoul, to provide a basic resource in the creation of an urban landscape that can provide a positive space for cultural diversity. The results of the study can be summarized as follows: First, the element of a physical environment that develops a sense of place was in fact the poor dwellings that correspond to the economic condition of Korean Chinese. While this element has a negative cognition to outsiders, Korean Chinese feel positively toward it. Secondly, signboards were a physical element of sense of place which retains cultural identity as a means of communication inside the community. Thirdly, it was found that activities such as shopping, recreation, and the exchange of information that are found in the pursuit of daily life act as an essential element in the formation of a sense of place even more than architectural elements. Fourthly, the appropriation of space by Korean Chinese and the isolation from the surroundings were obvious. This isolation is perceived as a negative sense of place formation to outsiders in Yen-Ben Street. Fifthly, the aspects of cultural dualism, mingling the concepts of home country, language, writing, and food have also affected the formation of a sense of place in the area. Sixthly, transience was a prominent phenomenon of Yen-Ben Street and is strengthened by illegal immigration. Although transience causes negative impacts such as in a lack of concern for the residential environment, it acts as a positive factor in the sense of place by mitigating uneasiness, and strengthening insider ties and cooperation.

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.12
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• pp.4826-4832
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• 2010

The study has been done for about two months through June 2 to July 30 of 2010. The study subjects are three herbal-pharmaceutical companies located in Seoul. Each of them purchased thirteen types of medicinal herbs, then the study did analysis for microbial contamination status of bacteria and fungi. Here, the study focuses on settling out fundamental data bases regarding the investigation standards of microbial contamination. As comparing the study results with contamination limits of bacteria and fungi which are represented by $10^7$ CFU/g and $10^4$ CFU/g in number respectively, the total percentage of fungi contamination which is 12.8% is higher than that of bacteria is only 7.7%. In the DNA homology analysis regarding 16S rRNA gene, 117 of colonization have been selected as study subjects. Including B. cereus composing of resistant spores, soil microbes account for approximately 96.6%. It indicates that it is important to establish collection and preservation systems in handling medicinal herbs. Also, it is critical to manage microbial contamination limits. In conclusion, the study proposes the needs to study on possible mingling of bacteria and fungi in manufacturing process, and microbial contamination status in medicinal herbs.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.647-659
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• 2018

'Waiting for a Thousand Years & Mingling with World People-Gangneung Danoje Festival 2017 as an Important Intangible Cultural Property' is the festival with the longest history in Korea. In spite of its historical value, however, there are not many academic researches on the value of festival brand equity. Thus, the objective of this study is to empirically analyze the influence relationship between selection attributes of festival storytelling, brand equity, brand attitude, and brand loyalty through the structural equation model. Regarding the spatial scope of thesis material, a survey was conducted focusing on 657 tourists visiting the Gangneung Danoje Festival. In the results of verifying the hypotheses in accordance with the structural equation model, the selection attributes of festival storytelling had effects on the brand equity, and the brand equity had effects on the brand attitude and brand loyalty while the brand attitude had effects on the brand loyalty. Based on such results of this study, the implications could be suggested as follows. First, the local contents culture should be developed together with local experts and residents by finding its local custom. Second, the brand equity that could prioritize the strategy of characteristics should be increased by emphasizing the selection attributes of storytelling. Third, the phased development should be achieved through local residents' open participation by dividing roles of experts and non-experts as festival manpower.

• The Journal of the Petrological Society of Korea
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• v.16 no.3
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• pp.162-179
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• 2007

Macheon Layered Intrusion (MLI) which intruded into Precambrian gneiss complex of the northern Jirisan area, southeastern part of Youngnam (or Sobaeksan) Massif, is a layered mafic-ultramafic complex of Triassic age (ca. 223 Ma). The MLI is divided into Layered Series and Laminated Series. Layered Series is subdivided into Central Zone (Lower Zone) consisting of olivine gabbros and Peripheral Zone (Middle or Upper Zone) consisting of hornblende gabbros based on the type of cumulus texture and the main mafic phase. The Central Zone of Layered Series comprises thinly laminated olivine gabbros and uniform or thickly laminated coarse olivine gabbros which consist of mela-gabbro, troctolite, leuco-troctolite, and anorthositic rocks. Laminated Series is also subdivided into quartz-bearing biotite-pyroxene gabbros and homblende diorite and both have variable amount of interstitial quartz and microcline. Laminated series display moderately to slightly developed igneous lamination which is defined by the planar alignment of lath-shape plagioclases. Chilled margin of quartz-bearing biotite-pyroxene gabbro with surrounding Precambrian gneisses insists shallower intrusion of more felsic cognate magma evolved in the deep a little later. Rocks of Layered Series have orthocumulus to adcumulus olivine, adcumulus to intercumulus plagioclase, and intercumulus to heteradcumulus pyroxene and hornblende. Magmatic modally grading, folding, and cross-lamination are not rarely occurred in thinly layered rocks. These textural characteristics define main mechanisms of the formation of layered and laminated structure in mafic-ultramafic rocks of Macheon Layered Intrusion are gravity settling and in-situ crystallization associated with slumping and density current.