• Journal of Oriental Neuropsychiatry
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• v.35 no.2
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• pp.163-175
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• 2024

Objectives: To investigate the relationship between rehabilitation treatment, mental state and resilience of stroke patients undergoing rehabilitation by examining the correlation between The Core Seven Emotions Inventory-Short Form (CSEI-s) and the Korean version of the Connor-Davidson Resilience Scale (K-CD-RISC). Methods: All 104 participants (44 diagnosed with stroke who were receiving rehabilitation and 60 without stroke or psychiatric history) completed the CSEI-s, K-CD-RISC, and Questionnaire for stroke symptoms. All data were analyzed using by Statistical Package for the Social Sciences (SPSS) ver. 27.0. Descriptive statistics, chi-square test, t-test, Mann-Whitney U test, Kruskal-Wallis H test, and Pearson correlation coefficient were used for data analysis. Results: As a result of the CSEI-s, compared to the control group, the stroke group showed significantly lower Joy (喜) scores and significantly higher scores for Depression (憂) and Sorrow (悲). With a morbidity period of 12 months or less, the Thought (思) score was significantly higher. The Fear (恐) score was significantly higher when the rehabilitation was initiation more than 4~8 weeks after than that when the treatment was started immediately. Meanwhile, the K-CD-RISC score was significantly higher when rehabilitation was started immediately. In the stroke group, the K-CD-RISC score was positively correlated with Joy (喜) but negatively correlated with Depression (憂) and Fear (恐). In the control group, K-CD-RSIC showed a positive correlation with Joy (喜) but negative correlations with Depression (憂), Sorrow (悲), and Fear (恐). Conclusions: In addition to early rehabilitation treatment, mental approach through Korean medicine psychotherapy is crucial for enhancing the resilience of stroke patients.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.74-95
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• 2024

A vast body of inscribed bricks has been found connected to the mid-fourth-century Tomb of Jang Mui in Bongsan-gun, Hwanghae-do Province. After several inspections of the bricks conducted at the National Museum of Korea in 2023, these inscribed bricks were grouped into ten types. This paper interprets in detail the phrases written on these bricks from the Tomb of Jang Mui in an attempt to understand their characteristics and intentions. This detailed interpretation facilitates a rough understanding of how each phrase relates to the others and in what order the phrases would make full sentences. In terms of their contents, these inscribed bricks are presumed to have been produced to convey information about the construction of the tomb to viewers on the outside. In particular, they relate that a narrator referred to as a Jubu official named Jo was involved in the construction of the Tomb of Jang Mui. They can be compared to the inscribed bricks created in China during the Western Jin and Eastern Jin Dynasties that were produced not by family members of the tomb occupants, but by figures who participated in the construction of the tombs based on political and social connections to their occupants. During the mid-fourth century, funeral practices in the former lands of the Nangnang and Daebang Commanderies followed Chinese traditions with the permission of Goguryeo Kingdom. Many of the artifacts found inside these Chinese-style tombs and introduced to the public, including the murals, ink inscriptions, and inscribed bricks, are related to the desire of the family members of the tomb occupants to strengthen their bonds and to share emotions and goals with settler groups. The contents of the inscribed bricks discovered from the Tomb of Jang Mui can be observed in this context.

• The Korean Journal of Medicine
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• v.99 no.2
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• pp.84-95
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• 2024

In Harrison's Principles of Internal Medicine, human understanding is emphasized as one of three necessary characteristics that a physician must have. Inflammation, which is caused by inflammatory inducers (inf-ids), is a fundamental feature of disease at the cellular and molecular levels. Inflammation protects the body, but excessive or prolonged inflammation can be damaging and can cause disease. Humans are repeatedly exposed to external and internal environmental factors that generate inf-ids throughout their lives. External environmental factors include microbial and non-microbial inf-ids, as well as stressors that inevitably arise during social interactions. Internal environmental factors include the adaptive physiological response that is present from birth. Inf-ids may also be produced by the four-step habit loop, which consists of a cue (e.g., stressor), emotions, routine act (adaptive response), and a reward. Immune cells in the circulatory system and in tissues may have positive and negative effects in inflammatory responses. However, low-grade inflammation may be difficult to detect. We propose a model of disease development that integrates external and internal environmental factors from the perspective of human understanding.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.65-75
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• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• The Journal of Art Theory & Practice
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• no.14
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• pp.53-83
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• 2012

This thesis is a study of artistic measures and climate refugees, based on Hack's World Climate Refugee Camp project. According to Hack, climate refugees appeared with the process of globalization. Hack claimed that the people who put climate refugees in danger are the industrialized nations, and therefore, their rejection of refugees is nonsense. He also stated that the fundamental solution would be the active participation of such nations. Thus, he travels around the world, encouraging participants and globalizing his project. Interestingly, the practical participation method of his climate calamity project is divided into four methods, which are all related to realizing the danger and presenting various solutions. First, the aesthetic of survival: the reason Hack focused on the warming trend and claimed that we have to accept the climate refugees as refugees comes from the thought that we are all potential refugees, and the anxiety that climate refugees may cause war in the end. The solution Hack found for surviving in such a world is to create "refugee camps" to notify people about the seriousness of climate change, and to put the "aesthetic for survival" in action. Second, a relation-oriented relationship: communication between Hack and the participants was done in various ways. They are experiencing a bond and emotions of an interrelationship through their actions in the experimental field, experiencing a new form of art, which they were not able to experience in a museum. Third, a utopian measure: Hack's utopian measure started from the fear of dystopia but Hack still believes that it is not only a dream, but that it can be realized. He claims that even though the start may be feeble, it is possible to rescue children from starvation and to treat climate refugees as proper human in the end, when communication and cooperation is done the right way and properly. Fourth, the aesthetic of global relation, the internet: the new solution Hack is trying on the internet is to make more people participate in his project. It is fate that "human are the wrongdoer and the victim at the same time", but according to Hack's opinion, social disaster can be avoided through effort and it is optimistic that we can give form to the culture revolution we are experiencing now. Hack's project illustrated the importance of daily life, compared to art inside a museum, through active participation of the people and opened up a new method of art through realistic responses to disasters. This is distinctive from the past exhibitions, where artists gave shape and form to ideals and an imaginary world, in that it shows that the artist and audience aim for creating a community-like structure, just like Bourriaud's art method. Hack's project of climate calamity illustrates that installation and action art is not only an art genre which shows installation and activities, but that it can include social and political issues and that it can be completed with the help of participants, consequently becoming a genre of modern art. Hack raises a question about art's identity through various descriptions. Artists as planners, who base their artworks on their subjectivity or the characteristics of a specific period, the people as participants, the duet of art work and play, human and human, and further, human and nature. The practical participation method, as a measure for "disaster", reveals the new art of the 21st century within Hack's artworks. Even though there are several problems with Hack's usage of art as a measure for disaster, it will actively open up a new page for the 21st century's art with the theme of disaster.

• Cartoon and Animation Studies
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• s.20
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• pp.75-86
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• 2010

Recently, as the number of female players has increased rapidly, the electronic gaming industry has begun to look at ways to appeal to the largely untapped female market. According to the latest game market investigative report by China Internet Network Information Center (CNNIC), the total number of game players in China increased by 24.8% in 2009, reached 69,130,000 people, and 38.9% of them are female players. This growth in the number of female player is corroborated by a series of investigative reports from IResearch Company in Shanghai, China: from 2003 to 2009, the number of female players grew from 8% to more than 49%. Therefore, no matter how much attention the game production companies have given to male players or how they have ignored the female players before, the companies would be sensible to face up this reality and adjust their marketing policy a bit more. This article analyzes gender preferences in video games which shows that male players are more likely to be attracted to elements of aggression, violence, competition and fast action in electronic game-playing, while female players are drawn to emotional and social aspects of the games such as an understanding of character relationships. The literatures cited indicates that female players also show apparent preference for games with familiar environments, games that allow players to work together, games that have more than one way to win, and games in which characters do not die. It also discusses the characteristics of female-friendly games from the aspect of emotion, pointing out that the simulation games involving pet, dressing-up, and social simulation games are very popular with female players. Because these are the most suitable game types to fill with emotions of love, share, jealousy, superiority, mystery, these are absolutely attractive to female players. Finally, in accord with the above, I propose some principles of designing female-oriented games, including presenting a good-looking leading character, making the story interesting with "live" NPCs(Non-Playing Characters), and finding ways to satisfy female nature instincts such as taking care of others and the inborn interest of classifying and selecting.

• Journal of the Korean Institute of Intelligent Systems
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• v.24 no.5
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• pp.482-488
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• 2014

This paper aims to analyze user's emotion automatically by analyzing Twitter, a representative social network service (SNS). In order to create sentiment analysis models by using machine learning techniques, sentiment labels that represent positive/negative emotions are required. However it is very expensive to obtain sentiment labels of tweets. So, in this paper, we propose a sentiment analysis model by using self-training technique in order to utilize "data without sentiment labels" as well as "data with sentiment labels". Self-training technique is that labels of "data without sentiment labels" is determined by utilizing "data with sentiment labels", and then updates models using together with "data with sentiment labels" and newly labeled data. This technique improves the sentiment analysis performance gradually. However, it has a problem that misclassifications of unlabeled data in an early stage affect the model updating through the whole learning process because labels of unlabeled data never changes once those are determined. Thus, labels of "data without sentiment labels" needs to be carefully determined. In this paper, in order to get high performance using self-training technique, we propose 3 policies for updating "data with sentiment labels" and conduct a comparative analysis. The first policy is to select data of which confidence is higher than a given threshold among newly labeled data. The second policy is to choose the same number of the positive and negative data in the newly labeled data in order to avoid the imbalanced class learning problem. The third policy is to choose newly labeled data less than a given maximum number in order to avoid the updates of large amount of data at a time for gradual model updates. Experiments are conducted using Stanford data set and the data set is classified into positive and negative. As a result, the learned model has a high performance than the learned models by using "data with sentiment labels" only and the self-training with a regular model update policy.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.307-323
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• 2007

One of the distinguishing features of late Jeosun s Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi s subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosun si motives in the Hansi history. Moreover, each writers various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk ewistence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.271-306
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• 2007

One of the distinguishing features of late Jeosun's Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi's subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosunsi' motives in the Hansi history. Moreover, each writer's various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk existence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Korean Journal of Culture and Social Issue
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• v.29 no.4
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• pp.537-567
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• 2023

This study compared the nature of disgust caused by the crime scene with that by the stereotype of the sexual-minority defendant, and compared the effect of each type of disgust on evidence evaluation and legal judgment. A total of 600 participants (300 men, average age of 44.40) were randomly assigned to sources of disgust (crime scene, sexual minorities defendant, control condition), the existence of additional evidence of innocence (o/x), and the existence of judicial directives (o/x). As a result of the study, disgust under the condition of a cruel crime scene with strong physical disgust was significantly higher than that of the sexual minority defendant, interpreted the evidence in a more guilty direction, and was more prone to_evaluate that the defendant was guilty. It is noteworthy that evidence evaluation was a significant moderating variable between disgust and probability of guilt under conditions where the source of disgust was a sexual minority, but not under control conditions and crime scene condition. It means that the effect of disgust on legal judgment may not be direct when the defendant is a sexual minority. In addition, the existence of the judicial instruction had a significant inverse effect on the sentence. And simple effect analysis found that presenting judicial instruction lowered probability of guilt only under the control condition. This makes it reasonable to infer that disgust derived from the characteristics of the crime scene and the defendant can be recognized as integral emotions that are difficult to correct with instructions. Finally, pity for the defendant was significantly higher under the conditions of sexual minority which shows that an emotional response of sympathy may occur in addition to disgust for sexual minorities. After examining the nature of disgust (physical & moral), legal judgment according to the source and degree of disgust was reviewed. In addition, the meaning of disgust and sympathy for the sexual minority defendant was discussed.