• 영어영문학
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• 제56권6호
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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.

• 한국임상약학회지
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• 제26권1호
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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.

• 미술이론과 현장
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• 제2호
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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.

• 동의생리병리학회지
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• 제24권6호
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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.

• 정보교육학회논문지
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• 제13권2호
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• pp.215-224
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• 2009

논술 교육은 단편적인 지식 암기 능력을 요구하는 것이 아니라 학습자의 다양한 독서 체험과 교과 학습을 배경 지식으로 활용하여, 여러 교과에서 지식이나 내용을 연관시키고 종합할 수 있는 고차원적인 사고 능력을 지향한다. 글을 잘 쓰기 위해서는 여러 가지 사고 전략이나 요령이 요구되는데, 이러한 전략 중의 하나가 마인드맵 기법을 글쓰기에 활용하는 것이다. 이러한 마인드맵을 컴퓨터에 접목시켜 보다 자기 주도적으로 학습할 수 있도록 한 것이 마인드맵 소프트웨어이다. 그러나 마인드맵 소프트웨어가 아직 교육 현장에 많이 보급되지 못하고 있어 그 교육적 효과에 대한 연구가 많지 않은 실정이다. 그러므로 본 논문에서는 범교과적 논술 교육을 위해 관련 교과 교육과정을 분석하여 논술 요소를 추출, 재구성하고 이를 바탕으로 마인드맵 소프트웨어를 활용하여 교육할 수 있는 논술 프로그램을 개발, 적용하여 그 효과를 검증하였다. 그 결과 마인드맵 소프트웨어를 활용한 논술 프로그램은 학습자의 글쓰기에 대한 학습 동기를 신장시키는데 효과적이었으며, 마인드맵 작성에 대한 부담감을 줄이고 이해 분석력, 창의력, 구성력, 표현력 등 논술 능력을 향상시켰다.

• 비교문화연구
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• 제36권
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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.

• 융합정보논문지
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• 제9권11호
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• pp.180-188
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• 2019

본 연구의 목적은 윌리엄 포크너의 작품 세계를 관통하는 남부 신화에 대한 재고라는 측면에서 그 신화의 실체 혹은 신화라는 허상에 대한 주제의식을 가지고 타자에 대한 폭력, 혹은 작가로서의 고뇌를 다 아우를 수 있는 공통점을 찾고자한다. 특히 "팔월의 빛"에 나타난 제퍼슨 사회가 미셸 푸코가 말한 판옵티콘 메커니즘과 평행을 이루며 타자에 대한 폭력을 정당화하는 과정을 살펴본다. 푸코는 인간 본성의 기저에 깔려있는 감시와 처벌의 담론을 문학 작품의 장으로 옮겨 적용할 수 있는 메커니즘을 제공하고 있다. 이를 통하여 남부신화를 구성하는 감옥의 체계와 법체계를 초월하는 린치의 문제까지 한 사회가 저지르는 집단적인 반도덕적 행위에 대한 고발은 작가로서의 그의 양심과 도덕성에 대한 고뇌의 산물인 점을 파악한다.

• 대한족부족관절학회지
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• 제26권2호
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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.

• 영어영문학
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• 제58권5호
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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.