• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.985-987
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• 2010

In this paper, we propose a maximum entropy-based emotion recognition model using individual average difference. In order to accurately recognize an user' s emotion, the proposed model utilizes the difference between the average of the given input physiological signals and the average of each emotion state' signals rather than only the input signal. For the purpose of alleviating data sparse -ness, the proposed model substitutes two simple symbols such as +(positive number)/-(negative number) for every average difference value, and calculates the average of physiological signals based on a second rather than the longer total emotion response time. With the aim of easily constructing the model, it utilizes a simple average difference calculation technique and a maximum entropy model, one of well-known machine learning techniques.

• Korean journal of food and cookery science
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• v.12 no.2
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• pp.166-177
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• 1996

This study was undertaken to investigate the effect of cereals on the physicochemical and sensory characteristics of Noti. Noti is one of Korean traditional pan-fried glutinous cereal cakes. In this case, Noti was made from the steamed glutinous millet flour Aspergillus and Penicillium developed in glutinous millet Noti dough from 40th day. The reducing sugar content of glutinous millet Noti was higher than that of the Noti dough during the same period and almost similar as the first day even 90 day storage. The moisture content of glutinous millet Noti was less than 20％. Moisture content of glutinous millet Noti to compare with the common rice cake was from 1/2 to 1/3. While gelatinization degree significantly decreased in the rice cake that did not add malt, glutinous millet Noti did not show decreasing gelatinization degree in comparison with the common rice cake. Overall acceptability was to add 15％ malt and keep 6 hr saccharification time at 60$^{\circ}C$. The hard ness of glutinous millet Noti by Instron measurement was slowly increased after the l0th day. Cohesiveness and elasticity were increased during the period of storage.

• Korean Journal of Social Welfare
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• v.63 no.2
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• pp.155-177
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• 2011

This paper attempts to explore the universal foundation on which the discourses on the validity criteria in qualitative research should be based, and further discuss in depth the scope and direction of an adequate validity criterion in qualitative research by critical examination of previous discourses. To establish the foundation for qualitative research, first of all, the concept of quality and qualitative paradigm were examined in terms of ontology and epistemology, especially focused on the works carried out by Aristotle, Kenneth and Boyd. Secondly, the earlier studies on the validity of qualitative research were critically reviewed in terms of the theoretical findings on the concept of quality and qualitative paradigm. The major results include the following: First, the true content of quality is defined as the 'what-ness' or essence of things perceived by subjects, and qualitative paradigm as adequate framework for qualitative research is comprised of two intrinsic modes: one is the mode of awareness and the other is that of expression. Second, qualitative researchers are able to reach to the higher level of validity by considering not only the subjectivity and the originality but also the sociality in drawing a conclusion through qualitative perception. Third, the trend of previous validity discourses can be firmly summarized as the effort to overcome the effect of quantitative research and acquire the true identity for qualitative research, which is subjectivity, and as the quest to compromise the tension between subjectivity and sociality. Finally, based on the findings, several research topics are suggested. For example, the more attention should be paid to the area of the expression of qualitative awareness as a way of overcome the tension between subjectivity and publicness.

• Journal of Korean Academy of Nursing
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• v.16 no.3
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• pp.11-21
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• 1986

The purposes of this study were to clarify whether the health belief model could explain the women's adoption of sterilization and to find the factors which influence the adoption of sterilization. To achieve these purpose, 35 women, who visited the family planning hospital to undergo an surgical operation for sterilization, were selected and named the group of adoption. Also, 36 women, who have the same demographic characteristics as the group of adoption, and have no sterilization among the married women, were selected and named the group of non-adoption. The measuring instruments used in this study were made by the researchers on the basis of the results of the review of the related literatures. The validity of these instruments was examined by one professor majoring in nursing and two family plmanning practioners. The reliability was proven by calculation of Cronbach's α with data of the group of adoption. The data was analyzed by t-test, X²-test, and ANOVA using Computer SAS system. The results were following: 1. Health belief model could be said to explain whether women accept the sterilization or not, because the degrees of susceptibility and severity for future pregnancy and the degree of benefit or adoption of sterilization in the group of ad-option are higher than those of the group of non-adoption. 2. Influence of demographic variables on health belief variables was as follows. With advancing ages, degree of susceptibility increased in the group of adoption, and the higher the number of artificial abortion increased, the higher degree of barrier increased in the group of non-adoption. Suggestions for further studies and application to the nursing practice are as follows 1. If one wants to educate the non-adoption women, one would be better to give such information as to increase the perception of susceptibility, severity and benefit. 2. New instrument to measure the perceived barrier which includes such items as fear on well-ness of the existing children, objection of husband and postoperative complication, is needed. 3. A study to find the change of perception on health belief variables is needed, after education to increase the level of perceived susceptibility and severity on the future pregnancy, and benefit on sterilization is given.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.181-192
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• 2009

The purpose of this research is to investigate appropriate usage of pansori's method of breathing, sound making, and resonance in order to develop actor's aesthetic voice. Today's theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It's not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one's own culture and aesthetic into their performance. Only after acquiring one's own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It's been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori's principles and practices are utilized to bring a new aesthetic voice.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
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• v.34 no.1
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• pp.1-10
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• 2008

Oral squamous cell carcinoma (OSCC) is the most frequent form of oral cancer and holds the eighth position in the cancer incidence ranking. OSCC patients are treated by classical therapeutic modalities consisting of surgery, radiotherapy, and/or chemotherapy. But OSCC still shows significant mortality rates. Thus, new therapeutic approaches have been investigated and the most promising one is naturally acquired agents with known anti-cancer effects. Genistein is a compound extracted from soy bean. Its anti-cancer effect on breast cancer is well established now and it is investigated whether it has similar effect on OSCC. It inhibited the growth and invasive-ness of OSCC cells in vitro, but these effects did not work in living animals in vivo. Catechin is a compound from green tea and its anti-cancer effect on OSCC is known better than other agents. Catechin showed its anti-cancer effect in vitro via induction of apoptosis, cell cycle arrest, inhibition of growth, and down-regulation of invasion/metastasis. These effects were confirmed in vivo with mouse model. Cordycepin is one of major pharmacologically important components in Cordyceps Militaris and may exert its anti-cancer effect as an adenosine receptor agonist. In recent study, it inhibited the proliferation of OSCC cells via A3 adenosine receptor. But because there is very scarce evidence on this effect, more researches are needed on this theme.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Korean journal of food and cookery science
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• v.1 no.1
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• pp.65-73
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• 1985

In this study, we tried to compare and determine wat the effects will be to the sensory characteristics and textures of a meat balls when the proportion of the textu-rized soy protein (TSP) varies from 0, 10, 20, 30, and 40％. Evaluation was conducted through sensory evaluation and objective evaluation. The results are as follows: 1. As the level of 40％ TSP increased the meat ball maintained a better appearance. 2. Color, beef flavor, tenderness, juiciness and acceptability shelved the tendency to decrease as TSP proportion increased. (1) No significant change to the outside color revealed to the level of 20％. How-ever, inside color showed a significant change after the level exceeded 20％. (2) Soy flavor tended to increased and beef flavor tended to decrease as the TSP proportion increased. However up to the level of 30％ one could not taste the flavor of soy. (3) Tenderness tended to decrease as the TSP proportion increased however difference was not significant. (4) Juiciness decreased as TSP proportion increased. (5) Acceptability tended to decrease as the TSP proportion increased but to a 40％ addition, the level of TSP did not have much effect on the sensory characteristics as long as sufficient seasonings were added. 3. Instron measurement incidated that springiness, cohesiveness and shear force tended to dcrease as the TSP proportion increased but hardness increased and chewi-ness was the highest at 20％ TSP level. 4. Color and difference meter indicated that the figure L and b tended to increase and AE decreased as the TSP proportion increased. 5. Cooking retention tended to increase as the TSP proportion increased. From thiss tudy, we can conclude that the level of up to 40％ of TSP in making meat ball did not affect the preference.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.68-77
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• 2012

Appreciating the aspect of modem architecture requires not only the comprehension of the nature of design and architects' ways of thinking and expression but also observers' views on buildings and their perceptive/cognitive stages. This calls for an in-depth study on the "system of phenomenological perceptions" that works as a new architectural experience system. The system of phenomenological perceptions makes it possible to specify the individual process of understanding architecture, that is, hands-on experiences, participations, feelings, perceptions, and cognition. The value of user experience and cognition has been emphasized by philosophical and aesthetical concepts as well. Therefore, in order to better appreciate the modern architecture, this study suggests theoretical consideration to "orientation and event" that are crucial elements in understanding a phenomenological view and materializing actual space formation. This offers the cognitive system with which we analyze modem architecture and comprehensive expressional methods. In other words, this study contemplates the system of phenomenological perceptions from an existential spatial perspective by structurizing the system of the orientation and the event in order to segmentalize users' current locations, potential directions, the relations with spaces, continual vie'wpoints as well as buildings' functions and interior and exterior division. The system of phenomenological perceptions helps understand and systemize modern architecture through a system based on relations between sensation, perception, cognition, sensitivity, and rationality. This creates a new cognitive system employing the concept of the orientation and the event, which is different from a normal cognitive system basing on the sense of vision. When observers appreciate space, they tend to relate the space to a certain event and to remember their experiences in it. During the process, they draw borders of the space in which the event takes place and give shape to their experiences including actions, movements, cognition and sensation. The process leads to the formation of "placeness," and here, the concept of the orientation comes in as the location and the center of the placeness. This study proves that a determined orientation coupled with individual experience and events settles the place ness; detailed elements in the cognitive system have close relations with one another; the orientation, actions, events, and places are the factors that materialize observers' architectural experience.

• Journal of the Korean Society of Costume
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• v.41
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• pp.207-223
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• 1998

The purpose of this study is to abstract the image from black dress, which has been favored by many people regardless of the times and examine it throughout the history of drss and thereby clearly define the images that black limplies in dress. Color image is a visual symbol, an image that forms through a combination of visual stimulus created by color, coupled with all the external factors related to it. Black is a one-dimensional color, of which the impact is subjective to its energy, which depends on light reflected on the object, and its texture. Therefore, black projects different images, depending on its surroundings. In general, black has had negative connotations in the Western culture. In dress, however, it has implied other various images different from the general negative ones. By combining general images of black and those exprssed in dress, major images of black were categorized into dignity, elegance, eroticism, asceticism and tragedy. Dignity is a category similar to the sublime. Dress with dignity has sharp contours and is generally made of velvet or silk which can be characterized by their splendor and voluminous-ness, exaggerating the body of a person wearing it. Such costume is mostly found in powerful countries in history such as Burgundy Court in the 15C, Spain in the 16C. Netherlands in the 17C. Elegance evokes grace and beautifulness. It includes elegance, grace, beauty and dandyism as subcategories or silk. Good examples are dandies' black costume and Ladies black and white dressees in the 19C. Eroticism is an image which expresses sexual attractiveness. Costume with eroticism is made of velvet or silk, which project sumptuousness through reflection. Such costumes expose parts of the body or are tightly tailored in order to emphasizes body contours. Asceticism means restraint from physical and mental desires. Costume with asceticism makes a person wearing it look smaller by covering the whole body. Puritan's black dresses and Bourgeoisie's black suit are good examples. Tragedy is anguish. sorrow. Black costume with grievous feelings such as mourning dresses is made of lusterless textile concealing most of the body except for the face.