• Maxillofacial Plastic and Reconstructive Surgery
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• v.16 no.2
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• pp.163-166
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• 1994

Pleomorphic adenoma(benign mixed tumor) is the most common tumor of the major salivary glands, constituting approximately 70 per cent of benign tumors of these glands. The term mixed tumor was introduced in the nineteenth century to stress the dual origin of this neoplasm from epithelial and mesenchymal elements, and the designation pleomorphic adenoma is preferred because it emphasizes both the epithelial origin and the variety of histological patterns found in this common salivary gland lesion. Rauch, in a review of 4245 pleomorphic adenomas, found 92.5 per cent in the major salivary glands and 6.5 per cent in the minor salivary glands, 8 per cent arose in the submandibular glands, and in another large series of over 6,000 cases, approximately 4 per cent arose in the hard and soft palates with equal frequency in each. The prognosis of pleomorphic adenoma depends more upon the choice and adequacy of treatment than upon histological appearances. The accepted treatment for this tumor is excision. With adequate surgery recurrence rates of less than 1 per cent can be obtained. In this hospital, I experienced two patients who were identified PMA which occurred in the hard palate and submandibular gland. The lesions were successfully treated by surgery.

• Korean Journal of Oriental Medicine
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• v.17 no.2
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• pp.29-37
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• 2011

The purpose of this study is to introduce the historical material documents 'Kumgo'("檢考"), 'Haeyeongkumandenglok'("海營檢案謄錄"), 'Wanyeong-kumjedenglok'("完營檢題謄錄冊") which were possessed by C.V. Starr East Asian Library, University Of California Berkeley. These documents are a kinds of the coroner's inquest reports that were made out by the provincial magistrate of the Chos$\u{o}$n dynasty in the nineteenth century. The important contents of these documents consist of the murder cases include the trial records of the persons who connected with the case and the reports of the corpse, etc. Especially, 'Kumgo'("檢考") is the investigator's guide book, the outline of this book is how to investigate the murder's case and how to make out the reports. The 'Haeyeong-kumandenglok'("海營檢案謄錄") is an old book of the transcribe from the many kinds of the murder case's reports which were occurred in Whanghae province("黃海道"), 1882-1884. The book of the 'Wanyeong-kumjedenglok ("完營檢題謄錄冊") is transcribe from the text of the murder's case decisions by the provincial magistrate, in Jeonra province("全羅道"), 1837-1839. The result of this study is as follows ; These documents have the valuable material factors especially in the fields of korean old law, social, woman history. and it seems that these documents will be used in the variety fields of the human scientific researches.

• Journal of The Geomorphological Association of Korea
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• v.20 no.4
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• pp.29-36
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• 2013

This article focuses on the contents of physical geography described in elementary Manguk-Gygi, in the period commonly regarded as the Enlightenment Period in Korea. During this period, this textbook contains wide-range of facts and knowledges of worlds. The results are as follows. First, in written korean-chinese letters, people can easily interpret the contents of geography. Second, people can know conceptual understanding of difficult geomorphic words in accord with people's levels. Third, many information of world nations can be introduced by this book. Fourth, this book made a major contribution in overcoming traditional natural perspectives, by introducing foreign cultures, consists of contents of physical geography aimed at rational and objective perception of the nature. But it is possible to conclude that pro-Japanese education acted on the educational authorities could be carried out in Korea from the late of Nineteenth century.

• Journal of architectural history
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• v.28 no.1
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• pp.7-16
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• 2019

As a part of the research on existing structures of private homes from Joseon Era. Focusing on one hundred twenty five-purlin houses, the current study investigated the features and characteristics of the house structure from style, size, proportion and roof pitch, and measurements of key parts, and developed the following conclusions. Most are single-houses (89, 83%), and among them, there are 47 single front-terrace houses (39%), which is the highest number. The sizes of lower house structure do not differ greatly depending on the vertical structure, and single rear terrace house and double-house have relatively larger side sizes. The size of upper structure is larger in double-houses compared to other vertical structures, indicating a relatively higher roof. The cross-section measurement of major parts show that double-houses are larger than single-houses by 3cm in pillar, 3-4.5cm in crossbeam length, and 4.5cm in crossbeam width. However, Janghyeo width was consistent at 7.5 to 10.5cm, maintaining uniformity regardless of vertical structure of the houses. In addition, the cross-section measurements decreased from sixteenth to nineteenth century, with the size of pillar size decreasing the most. The result that the Janghyeo width is not related to the house structure house confirmed that the Janghyeo width was kept consistent regardless of the size of the house structure.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.77-94
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• 2018

This paper examines William and Ellen Craft's Running a Thousand Miles for Freedom (1860)-a narrative of the enslaved couple's escape from Macon to Philadelphia in the guise of a white male master and a colored slave. Expanding Judith Adler's notion of "travel as performed art," my reading of Running focuses on the Crafts' stratagems of transvestism-crossing boundaries not only of gender, but also of race, class, and disability. If travel can be understood as a form of performed art, then why not address a traveler as a performance artist? I present William and Ellen's role-playing in Running as performers of crossing borders and categories, or, as "fugitive performers," since the couple's story never reaches its final arrival but narrates an eternal run-away, far more than "a thousand miles to freedom." Using social stereotypes of race and gender to disguise, William and Ellen plot, write, choreograph, play, and recite on the moving stages and manipulate the others-especially white American audiences-who accompany the couple's run-away and those who were responsible for the cultural drama-a tragedy of American slavery. Becoming "fugitive performers," William and Ellen de-essentialize and debunk the nineteenth-century America's firm belief in distinct color line between black and white, and in the high yet unstable bars between male / female, abled / disabled, master / slave, and freedom / slavery. The Crafts alert their contemporaries and readers by presenting the complex and permeable boundaries of race, gender, class, social and cultural ability.

• Journal of the Korean Society of Food Culture
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• v.24 no.5
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• pp.478-485
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• 2009

The purpose of this study was to investigate the Jorim of meat and poultry in Korean modern cookbooks. Jorim is a traditional Korean method of braising meat and poultry with soy sauce or gochujang. This study evaluated jorim in 10 books published in Korea from the end of 1800 to 1987 and to develop cooking models of beef jorim, pork jorim, and chicken jorim. The main ingredients in the jorim were beef, pork, chicken and pheasant. Other ingredients in the jorim included pine nuts, beef, eggs, radishes, bean sprouts, onions, bamboo shoots and pepper. In Sieuijeanseo, which was published at the end of the nineteenth century, the method called for braising meat directly in soy sauce. However, other modern cookbooks suggested boiling the meat prior to braising. Despite jorim being a popular sub-dish in Korea, there has been a decrease in the varieties available.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.619-639
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• 2009

In his 1993 stage play, Arcadia, Tom Stoppard appropriates scientific theories to dramatize the difficulty in predicting the future and in describing the past. Arcadia tracks the archaeological efforts of two present-day literary critics, Hannah Jarvis and Bernard Nightingale, as they attempt to piece together the events that occurred at a large country house called Sidley Park, from 1809 to 1812. While employing a variety of historical and cultural references to the changes taking place in British landscape gardening around the early nineteenth century, the play also turns around the intuitive-romantic versus rational-classical dichotomy represented by Hannah, and present in its discussion of science and the recoverable/irrecoverable past. Stoppard's use of chaos theory as a metaphor for the difficulties faced by those involved in biographical/bibliographical literary research suggests that unsubstantiated assumption can result in the construction of its subject, rather than in its recovery. This paper explores the way in which Stoppard uses scientific concepts, particularly the chaos theory, as a metaphor for human life and behaviour, and how he successfully describes the dilemmas and contradictions of life in so doing. Influences from his famous British predecessors, George Bernard Shaw and Oscar Wilde, are evident, but Stoppard transcends both playwrights and crafts a dramatic style distinctively his own. The combination of wit, comedy, intellectual depth, intriguing ideas, literary allusions, scientific concepts, metaphors, and cultural references, all combine to make Arcadia a dramatic edifice that will stand the test of time.

• (The)Study of the Eastern Classic
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• no.66
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• pp.129-162
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• 2017

This article examines the form of hell and the nature of literary works in the late Joseon period. 'Hoeshimgok(回心曲)' divides a sinner into a man and a woman, and presents a virtue of goodness to a man and an item of evil to a woman. The elements of virtue and malice are both Buddhist ethical norms and Confucian ethical norms. Hell-related novels have common features that emphasize the ethical norms that should be kept in daily life through the causes of hell, though the patterns of punishment and their reasons are slightly different depending on the works. And 'Hoeshimgok(回心曲)' and these works are generally shown by reducing the punishment pixel of hell compared to the cause of hell. This characteristic shows that the literary works of the late Joseon literature related to hell were mainly aimed at providing or educating ethical virtues centered on 'Samgangwol(三綱五倫)' through sanctions of 'Hell' widely known to the general public. The emphasis on Confucian ethics is not limited to works of literature related to hell. In the nineteenth century, when these works were created and circulated, there is a surge in the number of chapters and publications of books for Confucian Indoctrination, Didactic Gasa, and Goodness Books, which emphasize Confucian ethics. Such a strengthening of the Confucian ethical consciousness can be attributed to the crisis of the 19th century Joseon society about the social confusion that threatens the existing system. In particular, the creation and circulation of literary works related to hell in the late Joseon period is related to the dissemination and spread of Catholicism. In the end, the hell shape of the late Joseon literature reflects the crisis of social confusion faced by Joseon society in the nineteenth century. Therefore, it can be said that it has the character of literary response to the prevalent diffusion of Catholicism.

• Conservation Science in Museum
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• v.25
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• pp.51-62
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• 2021

The Belt with Rhinoceros-Horn Ornaments(known as a seodae in Korean) from the family of Princess Deokon's descendants housed in the National Hangeul Museum underwent emergency treatment for a special exhibition in 2019 upon the request of the National Hangeul Museum. Priority was given to the restoration of the original form of the severely damaged belt and the repair of its detached horn ornaments. Prior to the conservation treatment, researchers conducted a theoretical study of the belt with rhinoceros-horn adornments to learn the names of its structural components and the changes in form that the type experienced by period, thereby establishing a plan for conservation treatment and setting a direction. Among the belts worn by officials from the Joseon dynasty, rhinoceros-horn ornaments were attached to those of officials of the first rank and were considered the most precious behind the king's belt with its jade ornaments. The rhinoceros horn adorning the belt is classified into three categories according to quality. This belt has horn adornments of the highest quality, falling under the "grape design" category with dark brown dots concentrated in the center. The belt has a rectangular shape and lacks a buckle, reflecting a popular form from the nineteenth century. The structure of the belt was identified over the process of conservation treatment, offering information about its method of production. In addition, comparison of the relic with belts with rhinoceros-horn ornaments depicted in Joseon-period portraits of officials allowed the identification of changes in formal features and the detailed structures of belts with rhinoceros-horn ornaments by period. It confirmed that the belt subject to conservation treatment shows the features of belts with rhinoceros-horn ornaments produced in the nineteenth and twentieth centuries.

• Journal of Ginseng Culture
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• v.1
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• pp.11-27
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• 2019

The Jurchens, the ancestors of the Qing Manchus, had lived scattered in Manchuria and had made their living mostly on ginseng gathering and animal hunting. Their residential areas, rich with deep forest and numerous rivers, provided great habitation for all kinds of flora and fauna, but not so proper for agriculture. Based on their activities of foraging and hunting, the Jurchens developed a unique social organization that was later transformed into the Banner System, the most distinctive Qing military institution. By the sixteenth century, that the external trade brought considerable changes to Jurchen society. A huge amount of foreign silver, imported from Japan and South America to China, first invigorated commercial economy in China proper, and later caused a huge influence on Ming frontier regions, including Manchuria. In the late sixteenth century when the tradition of foraging and hunting encountered with silver economy, the Jurchen tribes became unified after years of competition and transformed themselves into the Manchus to build the Qing empire in 1636. In 1644 the Manchus succeeded in conquering the China Proper and moved into Beijing. Even after that, the Manchu imperial court never forgot the value of Manchurii ginseng; instead, they paid great efforts to monopolize this profitable root. Until the late seventeenth century, the Qing court used the Banner System to manage Manchurian ginseng. The banner soldiers stationed in Manchuria checked unauthorized civilian entrances in this frontier and protected its ginseng producing mountains from the Han Chinese people. All the process of ginseng gathering was managed by the institutions under the direct control of the imperial court, such as the Imperial Household Department, the Butha Ula Office, and the Three Upper Banner in Shengjing. Banner soldiers were dispatched to the given mountains, collect the given amount of ginseng, and send them to the imperial court in Beijing. The state monopoly of ginseng was maintained throughout the eighteenth and nineteenth centuries under the principle that Manchuria and its natural resources should be guarded from civilian encroachment. At the same time, Manchurian ginseng was considered as an important source of state revenue. The imperial court and financial bureau wanted to collect ginseng as much as they needed. By the late seventeenth century as the ginseng management by the banner soldiers failed in securing the ginseng tax, the Qing court began to invite civil merchants to ginseng business. During the eighteenth century the Qing ginseng policy became more dependent on civil merchants, both their money and management. In 1853 the Qing finally ended the ginseng monopoly, but it was before the early eighteenth century that wealthy merchants hired ginseng gatherers and paid ginseng tax to the state. The Qing monopoly of ginseng was in fact maintained by the active participation of civil merchants in the ginseng business.