• Journal of agricultural medicine and community health
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• v.34 no.2
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• pp.188-201
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• 2009

Objectives: This study compared the welfare level and leisure activities of children and the youth in urban areas with rural areas, and examined factors affecting their life satisfaction. Methods: The fourth wave of the Youth Panel data collected by the Korea Youth Policy Institute has been utilized. A total of 3,145 sample was drawn, and the average age of the sample was about 17 years old (a sophomore in high-school). T-test and multiple regression has been employed. Results: In almost all welfare related variables including life satisfaction, leisure satisfaction, parent attachment, and relationship with teachers and peers, the rural children and youth showed lower scores than their urban counterparts. The only factor whose score was higher to the rural children and youth was community factor including community attachment and guidance. In terms of leisure (satisfaction) level which was the most influential factor of predicting the variance of life satisfaction, the rural children and youth revealed unfavorable condition, as their accessibility to the facilities was low and there were less facilities in rural areas in the first place. Conclusions: As a way to improve the welfare and cultural level of rural children and youth, this study proposed to make investment to the rural areas by providing them with welfare and leisure infra structure and various welfare and leisure programs. To improve the outdoor leisure activities of the urban children and youth, setting up a sisterhood between urban and rural schools has been suggested.

• Archives of design research
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• v.19 no.2 s.64
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• pp.293-300
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• 2006

Mr. Miyazaki's heroines tend to be plucky young women who combine guileless decency with tough-mindedness. However, in his the latest film the female character often change herself into wise older women who sometimes serve as foils, sometimes as mother figures. His heroine, Sophie, starts out as a shy girl, but then a curse transforms her into 90-year-old. Her partner is Howl who supports and is supported by Sophie their mutual drawbacks. At first horrified by the change, she comes to embrace it as a liberation from anxiety, fear and self-consciousness, and discovers in herself a new zest for adventure. The castle is surely one of the most extraordinary contraptions to appear on screen recently, more ingenious in its way than the intergalactic armada. It ranges freely from place to place and is also, somehow, in several places at once, its magical front door opening onto different landscapes with the flip of a knob. It is not exactly haunted, but it is nonetheless infused with whimsical and sometimes somber spirits. Sophie, in both her incarnations, joins an impressive sisterhood of Miyazaki heroines, whose version of girl power presents a potent alternative to the mini-machismo that dominates American juvenile entertainment.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.40-54
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• 2015

Tashkent Seoul Park was completed in June, 2014, following the signing of a sisterhood relationship between Seoul City and Tashkent, the capital of Uzbekistan in July, 2010. An open competition for the design of the park was held and, based on the design, the park was completed in June and open to the public in September, 2014. Tashkent Seoul Park is more than a public park in Tashkent. The focus was on making it a starting point for offering a new model for traditional parks of Korea built abroad. Korean gardens and parks built in overseas cities are not only a landscape space but also serve as an ambassador that promotes the culture of Korea to foreigners who are unfamiliar with Korean culture. Therefore, Tashkent Seoul Park was designed to reflect the beauty and uniqueness of Korean traditional landscaping to promote the image of Korea and Seoul. As such, the design and plan was focused on the best measures to make known Korean culture through a design that sets itself apart from the landscape of Uzbekistan. To date, Korean parks or Seoul parks that have been built overseas have focused on the re-enactment of gardens and parks during the Josun Dynasty era. But with the Tashkent Park, the process of the 170,000 people from Goryeo was also reflected onto the design so that the culture and sensibilities of old Goryeo could be felt as well. Korean traditional garden design elements for the representation of the Korean identity are taken from the pilot study. This design element includes not only that of Goryeo, but also the Josun Dynasty era to allow local people to experience a general Korean traditional garden. The traditional beauty and lyricism of Korea was presented to Central Asia through the park in Tashkent so that the citizens could feel the simple yet down-to-earth beauty of Korean aesthetics. As such, the spatial experience of story-telling in Seoul Park evolves from two points of view. First, it is a spatial experience from the perspective of the Goryeo period and of foreigners. It is a continuum of a landscape experience where one can trace the sentiments of Korea and a hometown in Korea by passing through lyrical and multi-faceted spatial structures. Second, it is an experience that evolves from the viewpoint of an outsider, including the Tashkent citizens. It allows visitors to read the various methods and attitudes in an unfamiliar landscape and terrain. Through a story-telling that is reminiscent of the Silk Road through which trade with East Asia took place, visitors can interact with Korean culture in the Korean Garden and throughout the process they can feel the very Korean sentiments. This park presents the latest example of a 'Korean Garden' formed overseas and thus presents a clue to understanding the representation pattern of the Korean aspects of Korean Gardens through a study on the design strategies.

• Journal of radiological science and technology
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• v.6 no.1
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• pp.117-129
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• 1983

This study, in order to improve clinical and practical trainings in the education of radiologic technologists, applies to 76 medical institutions of 91 ones which are used as the hospitals of clinical and practical training in 9 existing junior colleges except 3 new ones of 12 ones throughout all over the country from November 1, in 1982 to April 30, in 1983. And the purpose of this study is to research the percent conditions of basic practical trainings and clinical ones enforced in each college, and the percent conditions, equipments, contents, and opinions in clinical and practical trainings enforced in each hospital. The results are summarized as follows; 1. In the case of junior colleges in the whole country the curriculum of basic practical trainings averages 336.66 hours and the limits are between 120 and 510 hours. The actual hours in practice average 140 hours and the limits are between 60 and 240 hours, which correspond to 41.58% of the curriculum of basic practical trainings. 2. There were three junior colleges among nine that had a reserved hospital for clinical and practical trainings(only 33.33%). 3. The period of the practice was almost vacation in 4 junior colleges. The practice was conducted only for students to want the practice(44.45%), junior colleges that all students in them conducted the practice was 2 junior colleges and presented 22.22%. 4. In the field of students engaging in the practice, each field of radiation therapy and nuclear medicine presented 16.5%, 20.3% and almost students didin't have experience for the practice. 5. In medical institutions the educational institutions for intern showed 67.11%. Hospital with radiologist showed 26.32%. Radiotechnologist who had experience below 5 years presented 60.17%. 6. In the equipment for radiation diagnosis, each hospital had no difference. The number of hospitals passessing diagnostic equipments above 125 KVP was 56.26%. But radiation therapy equipment and nuclear medicine equipment had extremely low rate. 7. In the diagnosis of patient in the practice hospital, conventional radiography-to Skull, Chest, Abdomen, Skeleton, Urogenital system-reached the criterion. But special radiography was comparatively low. There appeared low rate, 32.89% in the field of nuclear medicine, 15.79% in the field of radiation therapy. 8. Students who carried out the practice were 1-89 students, days in practice were 1-30 days. There were differences in that point among among hospitals. Junior colleges conducting the practice were 2 colleges per hospital. Scope of the object were 1-8 junior colleges. 9. The practice conducted for the request of the colleges presented 72.37%, in addition, The prctices were conducted for growth of the younger generation and the same coperation with the colleges establishment of sisterhood with the colleges, relationship with students. 10. The practice conducted without the establishment of plan presented 59.21% The need for guiding book to the practice and evaluating was recognized over 90%. 11. In the relation between the practice with achievement of credit. There were big differences in opinion between hospitals-Group and the colleges-Group; hospital-Group had opinion that must follow achievement of credit with the practice. The colleges-Group had opinion that must conduct the practice after achieving credit. 12. After conducting the practice, in the practice leaders satisfaction degree dissatisfactory opinion presented the most rate 80.26%. Very much satisfactory opinion, as one hospital, presentd only 1.32%. 13. Both hospitals-Group and the colleges-Group had an opinion that the practice leader must have actual experiences, lectures and achievement, an opinion that actual experiences is over 5 years. 14. In the guide of human relation, cooperation, responsibility, courtesy to patients. Both hospitals-Group and the colleges-Group had an opinion that the guide must be involved in the period of the practice and must be instructed.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.