• Journal of English Language & Literature
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• v.56 no.6
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• pp.1311-1337
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• 2010

This paper deals with one of the hottest debates in the history of the Association for Asian American Studies (AAAS) since its inception in the late 1960s. In 1998 at Hawai'i, the AAAS awarded Lois-Ann Yamanaka its Fiction Award for her novel Blu's Hanging, only to have this award protested. The point at issue was the inappropriate representation of Filipino American characters called "Human Rats" in the novel. This event divided the association into two groups: one criticizing the novel for the problematic portrayal of Filipinos in colonial Hawai'i, and the other defending it from the criticism in the name of aesthetic freedom. Such a "crisis of representation" in Asian American identity reflects on the ways in which local Hawaiians are positioned in the complicate power dynamic between oppositional Hawaiian identity and cosmopolitan diasporic identity within the larger framework of Asian American pan-ethnic identity. The controversial event triggered the eruption of Asian Americans' anxiety over the identity-bounded nation of Asian America where intra-racial classism and conflict have been at play, which are primary themes of Blu's Hanging. This paper shows how Yamanaka's Blu's Hanging becomes so disturbing a work to prevent the hegemonic formality of Asian America identity from being fully dogmatic. Ultimately, it contradicts the political unconscious of the reading public and unmasked its false consciousness by engendering a "free subjective intervention" in the ideological reality of colonial Hawai'i.

• Korean Journal of Clinical Pharmacy
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• v.26 no.1
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• pp.24-32
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• 2016

Objective: The visually impaired have limited access to health care services and related information, and thus, they can have serious hurdles against properly taking medications. Despite that it is important to improve self-care ability of the visually impaired for correct medication use, there have been few studies investigating their needs for health care services in Korea, particularly focusing on proper medication usage. This study is to explore safety-related issues regarding mediation usage among the visually impaired based on in-depth interview. We particularly focus on any obstacles for safe use of medicines including experience on medication-related adverse effects in order to provide preliminary evidence for policy measures to improve proper medication use among the visually impaired. Methods: Study sample was visually impaired individuals who resided in Seoul area and were registered in the National Association of Visually Impaired. The association helped the process of recruiting the study participants. In-depth interview for each study participants was conducted. Each interview was recorded and later converted into a written script to extract core contents for the analysis. Results: The study participants comprised of three women (42.9%) and four men (57.1%). One was in his 20's, and there were four participants in 30's and two in 40's. Fully impaired participants were majority (5 out of 7). Limitation to physical access to health care providers and health information were the key factors to hamper safe medication utilization among the study participants. Difficulty reading medication information and may take the wrong medication or incorrect doses of medication, resulting in serious consequences, including overdose or inadequate treatment of health problems. Visually impaired patients report increased anxiety related to medication management and must rely on others to obtain necessary drug information. Pharmacists have a unique opportunity to pursue accurate medication adherence in this special population. This article reviews literature illustrating how severe medication mismanagement can occur in the visually impaired elderly and presents resources and solutions for pharmacists to take a larger role in adherence management in this population. Conclusion: The visually impaired had difficulties reading medication information and identifying medicines, and took incorrect doses of medications. Public support for safe medication use and medication management among the visually impaired is necessary.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• Journal of Physiology & Pathology in Korean Medicine
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• v.24 no.6
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• pp.935-941
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• 2010

Fragrance(aroma) have many effects on body. Recently, aromatherapy was used to treat dementia, atopicdermatitis, alopecia areata, perineal disease, lymphatichydrops, and articularrheumatism. And people are interested in physical and mental effects of aroma, especially in mental. People empirically have been known the effects of aroma on soul and used aroma in life from long ago. They have had a meditation and had a sacrificial rites burning incense. Scholars also burned incense when reading books or tasting tea. Until now, there is no physiological study about recognition process and effects of aroma on body, but only many clinical studies using aromatherapy. Fragrance(aroma) is different from smell and good flavors of herbs. And it goes through nose and has effects on body in harmony on So-mun(素問). Also flavors of herbs are spreaded ki of herbs and have many effects on body. Aroma coming through the nose is recognized by co-operation of five-viscera(五臟), especially heart and lung. The nose and pectoral qi(宗氣) are related with lung. The lung opens into the nose, reflect its physiological and pathological conditions. Pectoral qi(宗氣) is the combination of the essential qi derived from food with the air inhaled, stored in the chest, and serving as the dynamic force of blood circulation, respiration, voice, and bodily movements. Because of the heart-spirit(心神), Heart is the organ can recognize the aroma, although the nose is the first organ of receiving aroma. Five spirits(五神: ethereal soul(魂), spirit(神), ideation(意), corporeal soul(魄), will(志)) and seven emotions(七情: joy(喜), anger(怒), anxiety(憂), thought(思), sorrow(悲), fear(恐), fright(驚)) are rerated with five-viscera(五臟) and essence-spirit (精神) processing steps and express of emotions. And aroma effects on five-viscera(五臟). So aroma have many effects on body, especially mentally.

• Journal of The Korean Association of Information Education
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• v.13 no.2
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• pp.215-224
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• 2009

The aim of teaching writing is not to memorize a single piece of knowledge but to acquire higher thinking that could be related to other fields using learners' various reading experiences and schemata. Among several strategies or techniques to write well, it is recommended to use a mind-map technique. A mind-map software applies the mind-map technique into computer for learners to study autonomously. However, the mind-map software is not common in educational fields yet and there are only few studies on the effect of it. Therefore, this study analyzed various curricula to extract the elements of writing and developed a mind-map software program which was applied and tested. As a result, the writing program using the mind-map software was effective in promoting learners' motivation and lowering anxiety. It also improved learners' competence of writing such as understanding, analytic thinking, creativity, ability to organize, and expression.

• Cross-Cultural Studies
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• v.36
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• pp.37-59
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• 2014

William Wordsworth's "The Thorn" revolves around the following questions: Who is Martha? Why does she go to the mountain top and repeat her doleful cry? To these questions, it gives us two different kinds of answers; one derives from the villagers, and the other from the narrator. This essay attempts to examine how the answers exemplify two different critical approaches to the problem of community, using Jacques Lacan's account of sexual difference in his seminar on Encore as a guiding thread of analysis. The important thing to retain here is that sexual difference in Lacan's seminar on Encore does not so much indicate biological determinations as two distinct forms of relating to the other which are intimately bound up with the question of how a community is constructed and maintained. The first form, called "masculine," suggests that it is a radical exception to a community that makes possible the community as a field of totality or sameness; the second form, called "feminine," shows that each of the subjects cannot be regarded as a member of a closed community which is guaranteed by the exceptionality, but as an exception that is radically singular. This in turn leads us to consider the possibility that the masculine form has to do with the villagers' effort to distinguish themselves from Martha and the feminine form with the way in which the narrator confronts and represents her. In the course of his formulation of sexuation graph, Lacan stresses that the masculine side must be supplemented by the feminine side, which allows us to elaborate on why, concerning Martha, the narrator does not just keep the completely different position from the villagers'. This is to say that the villagers' representation of Martha as an exception to the community should be supplemented by the narrator's attempt to tell Martha's story as the villagers do and at the same time to capture something of her enigmatic unrepresentability. Bearing in mind Charles Shepherdson's elaboration of traumatic memory, this essay also tries to clarify how the narrator preserves and even transmits something of Martha's truth that is embodied in her uncontrollable and unassimilable cry.

• Journal of Convergence for Information Technology
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• v.9 no.11
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• pp.180-188
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• 2019

The purpose of this study is to rethink the common theme that penetrates Faulkner's authorship. That is to say, does his authorship come from "being white"? To answer this question, I try to look into "otherness"/violence against others through re-reading Light in August. By borrowing the idea of "panopticon' mechanism in Michel Foucault's Surveiller et Punir, I will examine the process of justifying the violence against others, especially blacks. Through this process, I try to research the one side of Faulkner's Southern myth which was riddled with the history of pillage and violation of black people's rights. In Light in August, I will compare Jefferson society which encircles Joe Christmas to panopticon mechanism derived from Michel Foucault's Surveiller et Punir. Jefferson society as a designer of surveillance system and an executor as well ceaselessly surveils Joe Christmas's otherness/difference or blackness and tries to punish him whenever they can. With this mechanism, I try to explain that writer's repetitive narration of collective amoral behavior such as lynch comes from his anxiety and conscience about his dark side Southern history.

• Journal of Korean Foot and Ankle Society
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• v.26 no.2
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• pp.84-87
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• 2022

Purpose: This was a pilot study to examine the clinical usefulness of the newly developed three-dimensional sweep mode extracorporeal shockwave treatment (ESWT) in patients with plantar fasciitis. Materials and Methods: Three-dimensional sweep mode ESWT was performed once a week for 5 weeks in patients with plantar fasciitis who showed no improvement with the conventional conservative treatment. A 100-mm visual analogue scale (VAS) reading for pain from walking and at rest after walking were collected before the treatment and 8 and 16 weeks after the initial treatment. In addition, the Foot and Ankle Outcome Score (FAOS) and EuroQol-5-dimension (EQ-5D) scores before and 16 weeks after the treatment were evaluated. Results: VAS for pain for walking improved from 50.60±8.38 to 19.80±15.61 at 8 weeks after the initial treatment (p=0.008) and 9.80±9.62 at 16 weeks after the treatment (p<0.001). VAS for pain at rest after walking improved from 36.60±19.55 to 11.80±12.95 at 8 weeks after the initial treatment (p=0.052) and 8.80±8.87 at 16 weeks after the treatment (p=0.024). Preoperative FAOS increased from an average of 74.80±9.73 before the treatment to an average of 81.00±8.86 at week 16 after the procedure (p=0.49) and compared to pre-treatment levels, there was a decrease of one level in the anxiety/depression domain of the EQ-5D, post-treatment. Conclusion: The results of this preliminary study confirmed that the newly developed EWST with the smart forging sweep mode was effective in improving pain and function in plantar fasciitis.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.859-880
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• 2012

This paper aims at analyzing Robert Southey's Thalaba the Destroyer in relation to cultural colonialism of the British Romantic period and investigating the ways in which this text portrays the Other through its literary representation of the East. Especially, this paper attempts to show that the Oriental world constructed in Southey's text reveals the imperial subject's self-conscious awareness of its unstable relation with the unknown Other. For this purpose, this paper attends to the formal aspects of Thalaba the Destroyer, examining the process by which the reader's generic expectations about the "epic" undergo complex revisions and frustrations through reading this text. The epic elements contained in Thalaba the Detroyer include the battle between good and evil and the hero's moral epiphany arising from his struggle against malicious enemies. Yet, Thalaba the Destroyer constantly destabilizes the distinction between self and other by leading the reader to recognize the uncomfortable similarity between the poem's tyrannical figures and imperialistic monarchs in the Western civilization. Thus, when the hero enacts a revolution against despotism, the resistant power points not only to the imagined false kingdom within the text, but to the core of the real Empire that seeks to construct its own "garden" in the global scene. In addition, Southey's "panoramic" description of Oriental objects and stories in his footnotes lacks a framing perspective, erasing and de-stabilizing subject/object distinctions. In these footnotes, he exposes his profound attraction to the culture of "Other" and also conveys his aspiration to transforming Eastern myths and stories into profitable literary texts. Southey's attitude to the East in the footnotes appears to be partially grounded upon the interest of mercantile capitalists of the West, who need to discover potential commodities. Yet, simultaneously, he reveals a sense of moral hesitation about his own desire for the materiality of the East, along with deep anxiety arising from the fear of punishment.