• Journal of Korean Neurosurgical Society
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• v.47 no.3
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• pp.191-198
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• 2010

Objective : This study is planned to determine the neurocognitive difficulties of hydrocephalic adults. Methods : The research group contained healthy adults (control group, n : 15), and hydrocephalic adults (n : 15). Hydrocephalic group consisted of patients with idiopathic aquaduct stenosis and post-meningitis hydrocephalus. All patients were followed with shunted hydrocephalus and not gone to shunt revision during last two years. They were chosen from either asymptomatic or had only minor symptoms without motor and sensorineural deficit. A neuropsychological test battery (Raven Standart Progressive Matrices, Bender-Gestalt Test, Cancellation Test, Clock Drawing Test, Facial Recognition Test, Line Orientation Test, Serial Digit Learning Test, Stroop Color Word Interference Test-TBAG Form, Verbal Fluency Test, Verbal Fluency Test, Visual-Aural Digit Span Test-B) was applied to all groups. Results : Neuropsychological assessment of hydrocephalic patients demonstrated that they had poor performance on visual, semantic and working memory, visuoconstructive and frontal functions, reading, attention, motor coordination and executive function of parietal lobe which related with complex and perseverative behaviour. Eventually, these patients had significant impairment on the neurocognitive functions of their frontal, parietal and temporal lobes. On the other hand, the statistical analyses performed on demographic data showed that the aetiology of the hydrocephalus, age, sex and localization of the shunt (frontal or posterior parietal) did not affect the test results. Conclusion : This prospective study showed that adult patients with hydrocephalus have serious neuropsychological problems which might be directly caused by the hydrocephalus; and these problems may cause serious adaptive difficulties in their social, cultural, behavioral and academic life.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.116-126
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• 2016

In modern society which changes from quantity-seeking society to value-seeking one, people's various lifestyles have great effect on consumption patterns and work as an important factor in choosing hotels. The fact that design hotels, which provide unique experiences with differentiated and sensitive designs by reflecting various lifestyles, recently attract attention can be understood in the same context. As a matter of fact, design hotels recently serve as destinations as they become cultural and artistic icons which reflect customer lifestyles. Especially, the designs of lobby spaces in hotels play deciding role in customers' choices while representing the nature of hotels. In this respect, under the premise that the kinds of accumulated experiences are different depending on lifestyles and preferences for specific interior spaces are influenced by association mechanism formed by experiences, this study analyzed lobby spaces of design hotels which focus on specific lifestyles from the perspective of association mechanism based on experiences. As the method of analysis, this study classified the types of lifestyles and conducted case analysis to investigate what association mechanism works to enhance the preference of design hotels by types. Study classified lifestyles into experiential activity type, social meeting type, fashion-pursuing type and hideout-preferring type and analyzed cases of lobby designs in design hotels. The results of this case analysis are as follows; First, experiential activity type mainly utilized quasi-association and approach association through senses and social meeting type utilized quasi-association and memory association through emotions while fashion-pursuing type utilized quasi-association and presumption association through intuition and hideout-preferring type utilized quasi-association and approach association through thoughts. Second, it was found that most lobby designs are characterized by association mechanism in visual formative nature and that in temporal spatial nature working in complex way, and, through such process of association expansion, space stories are created. Stories of spaces created this way become unique identities of design hotels that provide new experiences for customers.

• Korean Journal of Culture and Social Issue
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• v.25 no.2
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• pp.157-177
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• 2019

In Study 1, the author translated the material which is modified by Han(2017) and allows researchers to examine misinformation effect about background (temporal structure of event) and object information. Eighty-five Korean participants were participated in Study 1 and tested their memory after misled by temporal and object post-event information about a story. The translated material could produce misinformation effect in both types of information. In Study 2, a 3-way ANOVA was conducted with combined data collected from Korea and the U.S to test the effects of three IVs (whether misled or not, the type of information and the nationality of the participants) on memory after misled by temporal and object information. As results, the main effects of all three IVs, the 2-way interaction effect of whether misled or not and the type of information, and the 3-way interaction effect of all the three IVs were statistically significant. In sum, the higher accuracy rate was obtained when the participants were not misled, and they were more accurate about the information about object. Americans tended to be more accurate. The misinformation effect was larger when the participants were misled by object information. The 2-way interaction effect was found only in the Korean sample. In the discussion, the implication of the current study was discussed.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.199-209
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• 2020

"Positive Influence(PI)" of popular star has recently emerged as a social concern, but the lack of prior research has led to confusion over its concept and range of activity. On this point, this study carried out to lay the groundwork for discussions on the systematization of related theories, focused on identifying the current situations by analyzing articles for 15 months from January 2019 to March 2020 when related reports were in full swing. As a result of the analysis of the remarks from the entertainers mentioned in the articles, they were not clearly aware of the concept while doing good deeds under the name of PI in light of the study outcome by Aegean and Singer(2013). The motivations for good deed were classified into six types, including difficulty empathy, fandom reward, participation urge, nidana emphasis, experience subjugation, and memory evocation in the order of frequency of cases. Specific behaviors of PI were followed by donations of money and valuables for 54.4 percent, participation of social agendas for 14.0 percent, volunteering for 13.2 percent, joining campaign for 11.4 percent, other good deeds for 4.0 percent, and philanthropy for 3.0 percent. In occupational analysis, the concentration of donations was also evident. Their activities in the fields of human rights sensitivity, environmental protection and self-management, which are expected to have great effects with their influence, have been extremely poor. The results of the study first require academia to establish a interdisciplinary concept for PI. It also suggests that entertainers and their agencies should take far more strategic approach to evolve the PI event in a way that utilizes the advantages of each job group, such as actors, singers and comedians, and expands the diversity of areas.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.6 no.1
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• pp.179-213
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• 1984

The history of recording and conserving for maintenance the human's memory from ancient times to modern's has brought about a lot of changing process of the recorded information media with developing in culture, and each society has made important recorded materials in his library as essentially the social apparatus. But most of them that were damaged by factors of the natural disaster, humidity, temperature, light, fungi and insects in the library, and were resulted in deterioration and losing the numerous materials. For removing the inevitable phases repeated, there are studying for counterplan of the fundamental environment factors about preservation, restoration and chemical research of materials in advanced countries, but I get a few researches about protecting the cultural properties. Therefore I research the survey of the actual conditions on 72 university libraries centering around them, and then I have researched the collection rate 81 percent, 58 university libraries. (local : 35, in seoul : 23) As the result of this research, I propose the model of the environment factors of conserving the library materials. 1) To apply the equipment of processing the radiant energy to the new construction and buildings. 2) To remove factors that occur fungi and insects by facilities being controlled relative humility, temperature, and to equip the ventilation arrangement in the library. 3) To shelve all acquired and bound materials after proceeding the vacuum fumigator. 4) Those who want to enter into the library stack were surely taken in sterilzing their hands and shoes, and must put on the gown. 5) To use the vacuum dusting thing (machine) for removing the dust without spreading out the floor of the library at any time. 6) To set up the gas automatic fire extinguisher worked by smoke sensor. 7) To assist the research into the preservation, natures and environment of recorded materials, and to supply financial funds for librarian. 8) To hold regularly the workshop be able to educate the methods of preservation materials by the constant system. (Library Association) 9) To add to responsibilities on certification of preservation materials for librarian. 10) To hold the constant committee system in each library. 11) To keep up with the ideal environment (humidity, temperature, light, ventilation, etc.) of preservation materials in the arrangement room, and to put on the gown.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.264-279
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• 2023

The 50th anniversary of the UNESCO World Heritage Convention was in 2022. In order to reflect on the present and future of the meaning of World Heritage, this paper examines the development and changes of the UNESCO World Heritage system. After promulgating the convention in 1972, the UNESCO World Heritage system prioritized the protection of heritage sites in the world that were at risk due to armed conflicts and natural disasters to bequeath heritage to the next generation. In addition, the UNESCO World Heritage's emphasis on Outstanding Universal Value represents the particular culture of human beings formed during a certain period of time, and acts as a significant source of soft power in public diplomacy. The UNESCO World Heritage might be perceived as a shared heritage that has not only become a channel to understand various national values, but also an effective medium to convey one of UNESCO's main principles, that is, peacebuilding. However, the UNESCO World Heritage is now at the center of conflicts of heritage interpretation between many stakeholders related to invisible wars, such as cultural wars, memory wars, and history wars as the social, political, and cultural contexts concerning World Heritage have dramatically shifted with the passing of time. Paying attention to such changing contexts, this paper seeks to understand the main developments in UNESCO World Heritage's discourse concerning changes to the World Heritage Operation Guidelines and heritage experts' meetings by dividing its 50-year history into five phases. Next, this paper analyzes the main shifts in keywords related to UNESCO World Heritage through UNESDOC, which is a platform on which all UNESCO publications are available. Finally, this paper discusses three main changes of UNESCO World Heritage: 1) changes in focus in World Heritage inscriptions, 2) changes in perception of World Heritage protection, and 3) changes of view on the role of the stakeholders in World Heritage. It suggests new emerging issues regarding heritage interpretation and ethics, climate change, and human rights.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• 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).

• Trans-
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• v.6
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• pp.43-78
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• 2019

Dance is an art that includes not only art historical facts, but also a series of processes for dancers' body, choreography, and the creation of entire process of dances and their lives. In other words, dance is the art of embodying the experience and consciousness of the dancer as the subject, and embodying it through the physical body, and therefore, the existing empirical study which relies solely on the literature in the history of dance study is difficult to deliver a complete history. Oral history is a new methodology historical writing that overcomes the limitations of research methods based on literature centered documents. Oral history in the field of dance is that the dancer becomes the subject of the history of dance's narrative. The memory and testimony of a dancer can become a history, complement the missing parts of the documentary record, and amount to analysis and interpretation to attempt the history of dance from various perspectives. The history of dance through oral history analysis thus generates another view from the literature. The oral history is acted as a prism that can explore the sociocultural discourse of the time and the history of dance. As a new academic challenge for the history of dance field, I expect to be able to review the artistic, social, and cultural functions and roles of dance beyond the limit of existing literature-oriented history study and to be able to progress to various the history of dance.