• Title/Summary/Keyword: Sexuality

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Distribution and Ecology of Marsh Clam in Gyeongsangbuk-do II. Reproductive Cycle and Larval Development of the Corbicula japonica (경상북도 재첩자원 분포 및 생태 조사 II. 일본재첩 Corbicula japonica의 생식주기 및 유생발생)

  • 변경숙;정의영
    • The Korean Journal of Malacology
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    • v.17 no.1
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    • pp.45-55
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    • 2001
  • Gametogenes, reproductive cycle, first sexual maturity(biological minimum size), sex ratio and larval development of the marsh clam Corbicula japonica were investigated monthly by histological observations. Samples were collected in brackish water of Gokgang stream, Kyungsangbuk-Do, Korea, from August 1997 to July 1998. Sexuality of Corbicula japonica is dioecious and the species are an oviparous clam. The gonads are irregularly arranged from the sub-region of mid-intestinal gland in visceral cavity to reticular connective tissue of foot. The ovary is composed of a number of ovarian sac which are branched arborescent. Oogonia actively proliferate along the germinal epithelium of ovarian sac, in which young oocytes are growing. The testis is composed of a number of testicular tubules, and the epithelium of the tubule has function of germinal epithelium, along which spermatogonia actively proliferate. A great number of undifferentiated mesenchymal tissue and eosinophilic granular cells are abundantly distributed between developing oocytes and spermatocytes in the early developmental stages. With the further development of the ovary and testis these tissue and cells gradually disappear. Then the undifferentiated mesenchymal tissue and eosinophilic granular cells are considered to be related to the growing of the oocytes and spermatocytes. The spawning period is from July to September, and the main spawning occur between July and August when seawater temperatures reach above 22$^{\circ}C$. The reproductive cycle of this species can be divided into five successive stages; early active (February to April), late active (May to July), ripe (June to September), partially spawned (July to September), degenerative (September to October) and resting stage (October to February). Percentages of first sexual maturity of female and male clams ranging in length from 10 mm to 12 mm are over 50% and 100% for clams over 16.0 mm in shell length. Fertilized eggs or Corbicula japonica were 80-90 ${\mu}{\textrm}{m}$ in diameter. In the early embryonic development of C. japonica, the appearance of polar body, trochophore and D-shaped veliger were observed around 40 min., 27 hours and 4 days after spawning, respectively, at a water temperature of 26.5-28.$0^{\circ}C$. The size of larvae of early umbo stage was about 185-210 ${\mu}{\textrm}{m}$ in shell length, 160-180 ${\mu}{\textrm}{m}$ in shell height around 7 days after fertilization. The correlation of relative growth between the culture day (D) and shell length (SL) was expressed by the following simple formula from D-shaped veliger to metamorphosing stage; SL = 13.300D + 209.36($r^2$= 0.9078).

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Media Discourse on Asian Women's International Marriage: The Korean Case (아시아 여성의 국제결혼에 대한 미디어 담론: 한국 미디어의 재현방식을 통해)

  • Kim, Soo-Jung;Kim, Eun-Yi
    • Korean journal of communication and information
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    • v.43
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    • pp.385-426
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    • 2008
  • This paper focuses on how international marriages among Asians have been represented by the Korean media. Due to globalization, the so-called 'ethnoscape' has changed, and so ethnicity or racial identity within the boundaries of the nation-state changed. The recent diaspora of Asian women into Korea through international marriages has reflected how globalization has proceeded at a regional or local level. This paper attempts to analyze Koreanmedia discourses on the Asian female diaspora. This study analyzes what kind of generic forms TV dramas, other shows(TV reality programs, TV journalistic programs), movie and internet have employed to represent international marriages and how they have portrayed the subjectivities of the Asian female diaspora. This study discuss how this representation has been contested by the 'realities' of their international marriages. By examining how the Korean mainstream media have dealt with the conflicting issues of the Asian female diaspora, this paper intends to look critically at how local discursive practices have substantiated the changing ethnoscape. As a result of the study, this paper can find international marriages among Asians have been represented by Korean media still patriarchal system in male-oriented society. The otherness of Asian women justify the strong work of household affairs, and so justified life is standardized 'a kind of daughter- in-law', 'a complaisant daughter-in-law' in the process of migration. Also the otherness of Asian women standardized 'a victor' or 'a harmer' through international marriage of money that commercialized 'sexuality'. After all Korea media discourse on Asian women's international marriage, the gender issues on it have not been focused on a serious level.

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The Effect of Freeze and Thaw for the Stabilized Soil Bottom Liners in the Landfill (폐기물 매립지 바닥층의 고화토 포설시 동결/융해 현상에 관한 연구)

  • Lee, Song;Lee, Jai-Young;Kim, Heung-Suck
    • Journal of the Korean Geotechnical Society
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    • v.16 no.1
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    • pp.179-189
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    • 2000
  • The purpose of this research is to complement the existing researches on landfill bottom liners behavior during the periods of freeze and thaw. Landfill-related researches have been typically focused on small-scale soil samples that are often compacted under conditions different from those used in the field. Although these tests have been invaluable in clarifying the problem of freeze and thaw, extending the results of such experimental studies to prototype landfills are questionable. In this investigation, the author utilized a large scale laboratory simulation allowing inclusion of the field depth of the cover systems, layered soil profiles, rainfall simulation, a cold climate and boundary conditions similar to those encountered in the landfill. The soil materials were stabilized soils (mixed clays, cements, and minerals) instead of clays. The bottom liners are made up of drainage layer (30 cm), stabilized layer (75 cm), and leach collection layer (60 cm). The stabilized layers are made up of supporting layer (45 cm) and low permeable layer (30 cm) - consisting of $P_A\; and\; P_B$ layer. As a results, depths of penetration increased by about 2~5 more centimeters at rainfall simulated designs than those at no rainfall simulated designs (that is design 3, design 5 and design 7) - it increased by about 20mm/day in the bottom liners and frost heaves also increased it by a few millimeters. Also, a few cracks appeared partly. According to these results, we can surmise that the compacted stabilized soil is more reliable than the compacted clay liners for construction of the landfill liners.

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A basic research for evaluation of a Home Care Nursing Delivery System (가정간호 서비스 질 평가를 위한 도구개발연구)

  • Kim, Mo-Im;Cho, Won-Jung;Kim, Eui-Sook;Kim, Sung-Kyu;Chang, Soon-Bok;Ryu, Ho-Sihn
    • Journal of Korean Academic Society of Home Health Care Nursing
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    • v.6
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    • pp.33-45
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    • 1999
  • The purpose of this study was to develop a basic framework and criteria for evaluation of quality care provided to patients with the attributes of disease in the home care nursing field, and to provide measurement tools for home health care in the future. The study design was a developmental study for evaluation of hospital-based HCN(home care nursing) in Korea. The study process was as follows: a home care nursing study team of College of Nursing. Yonsei University reviewed the nursing records of 47 patients who were enrolled at Yonsei University Medical Center Home Care Center in March, 1995. Twenty-five patients were insured at that time, were selected from 47 patients receiving home care service for study feasibility with six disease groups; Caesarean Section (C/S), simple nephrectomy, Liver cirrhosis(LC), chronic obstructive pulmonary disease(COPD), Lung cancer or cerebrovascular accident(CVA). In this study, the following items were selected : First step : Preliminary study 1. Criteria and items were selected on the basis of related literature on each disease area. 2. Items were identified by home care nurses. 3. A physician in charge reviewed the criteria and content of selected items. 4. Items were revised through preliminary study offered to both HCN patients and discharged patients from the home care center. Second step : Pretest 1. To verify the content of the items, a pretest was conducted with 18 patients of which there were three patients in each of the six selected disease groups. Third step : Test of reliability and validity of tools 1. Using the collected data from 25 patients with either cis, Simple nephrectomy, LC, COPD, Lung cancer, or CVA. the final items were revised through a panel discussion among experts in medical care who were researchers, doctors, or nurses. 2. Reliability and validity of the completed tool were verified with both inpatients and HCN patients in each of field for researches. The study results are as follows: 1. Standard for discharge with HCN referral The referral standard for home care, which included criteria for discharge with HCN referral and criteria leaving the hospital were established. These were developed through content analysis from the results of an open-ended questionnaire to related doctors concerning characteristic for discharge with HCN referral for each of the disease groups. The final criteria was decided by discussion among the researchers. 2. Instrument for measurement of health statusPatient health status was measured pre and post home care by direct observation and interview with an open-ended questionnaire which consisted of 61 items based on Gorden's nursing diagnosis classification. These included seven items on health knowledge and health management, eight items on nutrition and metabolism, three items on elimination, five items on activity and exercise, seven items on perception and cognition, three items on sleep and rest, three items on self-perception, three items on role and interpersonal relations, five items on sexuality and reproduction, five items on coping and stress, four items on value and religion, three items on family. and three items on facilities and environment. 3. Instrument for measurement of self-care The instrument for self-care measurement was classified with scales according to the attributes of the disease. Each scale measured understanding level and practice level by a Yes or No scale. Understanding level was measured by interview but practice level was measured by both observation and interview. Items for self-care measurement included 14 for patients with a CVA, five for women who had a cis, ten for patients with lung cancer, 12 for patients with COPD, five for patients with a simple nephrectomy, and 11 for patients with LC. 4. Record for follow-up management This included (1) OPD visit sheet, (2) ER visit form, (3) complications problem form, (4) readmission sheet. and (5) visit note for others medical centers which included visit date, reason for visit, patient name, caregivers, sex, age, time and cost required for visit, and traffic expenses, that is, there were open-end items that investigated OPD visits, emergency room visits, the problem and solution of complications, readmissions and visits to other medical institution to measure health problems and expenditures during the follow up period. 5. Instrument to measure patients satisfaction The satisfaction measurement instrument by Reisseer(1975) was referred to for the development of a tool to measure patient home care satisfaction. The instrument was an open-ended questionnaire which consisted of 11 domains; treatment, nursing care, information, time consumption, accessibility, rapidity, treatment skill, service relevance, attitude, satisfaction factors, dissatisfaction factors, overall satisfaction about nursing care, and others. In conclusion, Five evaluation instruments were developed for home care nursing. These were (1)standard for discharge with HCN referral. (2)instrument for measurement of health status, (3)instrument for measurement of self-care. (4)record for follow-up management, and (5)instrument to measure patient satisfaction. Also, the five instruments can be used to evaluate the effectiveness of the service to assure quality. Further research is needed to increase the reliability and validity of instrument through a community-based HCN evaluation.

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Existent, but Non-existent Spaces for Others Focusing on Discourse-spaces of a Korean Movie (2016) (존재하지만 존재 않는 타자들의 공간 영화 <죽여주는 여자>의 담론 공간을 중심으로)

  • Jang, Eun Mi;Han, Hee Jeong
    • Korean journal of communication and information
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    • v.84
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    • pp.99-123
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    • 2017
  • We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.

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Geochemistry of Granites in the Southern Gimcheon Area of Korea (김천남부에 분포하는 화강암류의 지구화학)

  • 윤현수;홍세선
    • The Journal of the Petrological Society of Korea
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    • v.12 no.1
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    • pp.16-31
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    • 2003
  • The granites in the southern Gimcheon area can be divided into two parts, marginal hornblende biotite granodiorite (Mgd) and central biotite granodiorite to granite (Cgd). Mgd and Cgd are gray in color and display gradational contact relations and are mainly composed of coarse-grained and medium-grained rocks, respectively. Mgd has more frequent and larger mafic enclaves than Cgd, and the two granites partly show parallel foliation at thire contact with gneisses. From representative samples of the granites, K-Ar biotite ages of 197∼207 Ma were obtained. Considering the blocking temperature of biotite, it is suggested that the emplacement age of the granitic magma was probably late Triassic. The anorthite contents of plagioclases in Mgd display less variation than those of Cgd, indicating that Mgd crystallized within a narrow range of temperatures. In the Al$\_$total/-Mg diagram, the biotites from the granites plot within the subalkaline field, and the smooth slope indicates differentiation from a single magma. All amphiboles from the granites belong to magnesio-hornblende. The linear trends of major oxides, AFM and Ba-Sr-Rb indicate that Mgd and Cgd were fractionally differentiated from a single granitic magma body crystallizing from the margin inwards. The relations of modal (Qz+Af) vs. Op, K$_2$O vs. Na$_2$O, Fe$_2$ $O_3$ vs. FeO, Fe$\^$+3/(Fe$\^$+3/+Fe$\^$+2/) and K/Rb vs. Rb/Sr show that they belong to I-type and magnetite-series granitic rocks developed by the progressive melting products of fixed sources. REE data, normalized to chondrite value, have trends of enriched LREE and depleted HREE together with weakly negative Eu anomalies.

The Style and Cultural Significance of Film Color White (영화색채 하양의 활용 양상과 문화적 의미)

  • Kim, Jong-Guk
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.4
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    • pp.187-198
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    • 2020
  • With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

Comparison of the Video Dramas Based on Yoon Sim-duk, Kim Woo-jin and Reconsidering the Movie Praise of Death(1991) (윤심덕과 김우진 소재 영상물 비교 및 영화 <사의 찬미>(1991) 재론)

  • Chung, Woo-Suk
    • Journal of Popular Narrative
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    • v.26 no.4
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    • pp.43-76
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    • 2020
  • After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.

A Study on the Narratives of Lee Ae-rim's Comic Books -Focusing on the Characteristics of Repetition, Coincidence, and Fantasy (이애림 만화 서사 연구 -반복, 우연, 환상의 특성을 중심으로)

  • Lee, Cheong
    • Journal of Popular Narrative
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    • v.25 no.1
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    • pp.281-313
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    • 2019
  • This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.

Site-Specific Art Practices as Intervention in the Era of Globalization: Focused on Two "Dongducheon" Art Projects (지구화 시대 개입으로서의 예술실천과 장소의 문제 : 동두천 작업을 중심으로)

  • Kim, Young-Ok
    • Women's Studies Review
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    • v.27 no.1
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    • pp.73-109
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    • 2010
  • The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.