• Journal of the Korean Society of Food Culture
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• v.29 no.6
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• pp.488-498
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• 2014

The research aimed to provide accurate and basic data comparing different perceptions of head family's food and food for religious ceremonies depending on age with the goal of sustaining traditional Korean food in the future. The gender distribution of the participants was 274 Males (42.5%) and 370 Females (57.5%). Age distribution was 211 participants (32.7%) in their 20s, 215 participants (33.3%) in their 30 to 40s, and 220 participants (34%) in their 50 to 60s. The older generation appeared to beaware of the definition of head family or 'The eldest's house of head family' as well as the concept of one's family five generations ago with more reductive and emphasis than imaginary concept of head family of the younger generation. The image of the head family was perceived as 'head family's food' in younger generations and as 'eldest son' in older generations. Family role and meaning most often manifested as 'succession of tradition' and 'cultural symbols' in younger generations, respectively, whereas older generations responded 'hallmark of the head family'. Family ancestral rites and head family's food had positive effects on awareness of head family's food. Moreover, those with experience in practicing family ancestral rites responded that head family's food should be more popular. People who viewed family's food more positively were more open with the idea thathead family's food could go mainstream. In conclusion, positive perception of head family's food and traditional pride are crucial environmental factors in public support of popularizing head family's food to the public.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.23 no.1
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• pp.1-14
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• 2020

In this study, we 1) identified the damaged areas along the south limit line (SLL) of the demilitarized zone (DMZ) by the military's 'DMZ barren land campaign', and 2) categorized the identified damaged areas into a few ecological types. Using high-resolution satellite images, we delineated the total damaged areas to be 1,183.2 ha, which accounted for 50.1% of the 100-m northern buffer regions from the SLL. Of the total damaged areas, 16% were severely damaged, i.e., they had been damaged until recently and so remained barren without vegetation cover. In other areas, the levels of damage were either moderate (59.9%) or slight (24.1%), due to natural succession that turned those areas to grassland or forest. Using satellite image-derived land cover maps and climatic and topographic data, we categorized the damaged areas into seven types: lowland grassland (19.8%), western lowland forest (21.4%), low-altitude forest (25.5%), mid-altitude forest (18.4%), high-altitude forest (6.8%), vicinity in east coast (7.9%), and waterbody (0.2%). These types can be used to identify proper measures to restore ecosystems in the DMZ for now and after Korean reunification.

• Clinical and Experimental Reproductive Medicine
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• v.24 no.2
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• pp.153-165
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• 1997

In male reproducible health, fertility and IVF (in-vitro fertilization), semen analysis has been most important. Semen analysis can be divided into concentration, motional and morphological analysis of sperm. The existing method which was developed earlier to analyze semen concentrated on the sperm motility analysis. To provide more useful and precise solutions for clinical problems such as infertility, semen analysis must include sperm morphological analysis. But the traditional tools for semen analysis are subjective, imprecise, inaccurate, difficult to standardize, and difficult to reproduce. Therefore, with the help of development of microcomputers and image processing techniques, we developed a new sperm morphology analyzer to overcome these problems. In this study the agreement on percent normal morphology was studied between different observers and a computerized sperm morphology analyzer on a slide-by-slide basis using strict criteria. Slides from 30 different patients from the SNUH andrology laboratory were selected randomly. Microscopic fields and sperm cells were chosen randomly and percent normal morphology was recorded. The ability of sperm morphology analyzer to repeat the same reading for normal and abnormal cells was studied. The results showed that there was no significant bias between two experienced observers. The limits of agreement were 4.1%${\sim}$-3.8%. The Pearson correlation coefficient between readers was 0.79. Between the manual and sperm morphology analyzer, the same findings were reported. In this experiments the slides were stained by two different methods, PAP and Diff-Quik staining methods. The limits of agreement were 7.2%${\sim}$-5.7% and 6.0%${\sim}$-6.3%, respectively. The Pearson correlation coefficients ware 0.76 and 0.91, respectively. The limits of agreement was tighter below 20% normal forms. In the experiments of repeatability, 52 cells stained by PAP and Diff-Quik staining methods were analyzed three times in succession. Estimating pairwise agreement, the kappa statistic for the pairs were 0.76, 0.81, 0.86, and 0.75, 0.88, 0.88 respectively. In this study it was shown that there was good agreement between manual and computerized assessment of normal and abnormal cells. The repeatability and agreement per slide of computerized sperm morphology analyzer was excellent. The computer's ability to classify normal morphology per slide is promising. Based on results obtained, this system can be of clinical value both in andrology laboratories and IVF units.

• Cross-Cultural Studies
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• v.42
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• pp.165-203
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• 2016

This study attempted to reconsider the existing viewpoint on the history of Pansori transmission and suggested a new viewpoint on lostPansori transmission. Untill now, lost seven songs have been criticized for failure in Pansory's transmission history because it ceased to satirize negativity of abnormal character without creating a bearer of new value goals in the new age this paper resulted in another conclusion which extends Pansori history's process to modern times in the point of succession and duration of Pansori esthetics. Currently the above reason creats a problem ofcomplete nonmention that confront Pansori's twelve songs which does not apply to lost seven songs. If the evaluation standard of literary history used for lost seven songs is applied to inherited five songs, The inherited five songs also failed in the esthetic cultural history of present times. To resolve this issue, this study suggested a new viewpoint to replace the existing viewpoint that label Pansori's history as a historical structure consisting of success of inherited five songs and failure of lost seven songs repetitive replacement cycle of float and flow. This study provided constructive on lost Pansory of premodern times and presented entire Pansori as a flowing state. This paper futher identified the stages of decline the lost seven songs since the 20thcentury but sets the stage or finding a new qualitative possibility. This new theory was suggested through extant aspects of the movie that was a reproduction of in the present media age.

• The Korean Journal of Nuclear Medicine Technology
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• v.14 no.2
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• pp.33-37
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• 2010

Purpose: In the early stage of using PET/CT, it was used to damper revision but recently shows that CT with MDCT is commonly used and works well for an anatomical diagnosis. This hospital makes the accuracy and convenience more higher in the diagnosis and evaluate of coronary heart disease through concurrently running myocardial perfusion SPECT examination, myocardial PET examination with FDG, and CT coronary artery CT angiography(coronary CTA) used PET/CT with 64-slice. This report shows protocol and image based on results from about 400 coronary heart disease examinations since having 64 channels PET/CT in July 2007. Materials and Methods: An Equipment for this examination is 64-slice CT and Discovery VCT (DVCT) that is consisted of PET with BGO ($Bi_4Ge_3O_{12}$) scintillation crystal by GE health care. First myocardial perfusion SPECT with pharmacologic stress test to reduce waiting time of a patient and get a quick diagnosis and evaluation, and right after it, myocardial FDG PET examination and coronary CTA run without a break. One-stop evaluation protocol of ischemic heart disease is as follows. 1)Myocardial perfusion SPECT with pharmacologic stress: A patient is injected with $^{99m}Tc$-MIBI 10 mCi and does not have any fatty food for myocardial PET examination and drink natural water with ursodeoxcholic acid 100 mg and we get SPECT image in an hour. 2)Myocardial FDG PET: To reduce blood fatty content and to increase uptake of FDG, we used creative oral glucose load using insulin and Acipimox to according to blood acid content. A patient is injected with $^{18}F$-FDG 5 mCi for reduction of his radiation exposure and we get a gated image an hour later and get delay image when we need. 3) Coronary CTA: The most important point is to control heart rate and to get cooperation of patient's breath. In order to reduce a heart rate of him or her below 65 beats, let him or her take beta blocker 50 mg ~ 200 mg after a consultation with a doctor about it and have breath-practices then have the examination. Right before the examination, we spray isosorbide dinitrate 3 to 5 times to lower tension of bessel wall and to extension a blood wall of a patient. It makes to get better the shape of an anatomy. At filming, a patient is injected CT contrast with high pressure and have enough practices before the examination in order to have no problem. For reduction of his radiation exposure, we have to do ECG-triggered X-ray tube modulation exposure. Results: We evaluate coronary artery stenosis through coronary CTA and study correlation (culprit vessel check) of a decline between stenosis and perfusion from the myocardial perfusion SPECT with pharmacologic stress, coronary CTA, and can check viability of infarction or hibernating myocardium by FDG PET. Conclusion: The examination makes us to set up a direction of remedy (drug treatment, PCI, CABG) because we can estimate of effect from remedy, lesion site and severity. In addition, we have an advantage that it takes just 3 hours and one-stop in that all of process of examinations run in succession and at the same time. Therefore it shows that the method is useful in one stop evaluation of ischemic heart disease.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.