• Korean Journal of Social Welfare
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• v.61 no.1
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• pp.81-107
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• 2009

This study is to understand, in the view of resilience, the experience of military widows, whose husbands died while on active military duty and have lived as single mothers for a long time. This study using a qualitative research method based on Phenomenology, especially using Colaizzi's process of data analysis. 99 meaningful sentences, 26 themes, and 10 theme clusters has been categorized from the interview of 9 military widows, who has been participated a self-help group for them. The 10 theme clusters are 'denial and grief over the death of spouse', 'ambivalence over the duty of their husbands', 'acceptance of the helpless fate and arduous fight to live', 'sorrow in the social and historical context', 'responsibility and endeavoring of parenting', 'self-existential challenge', 'immanent belief system as a military widow'. 'effort to find self-identity in the outer systems', 'wish to reassure their existence', and 'to find the meaning of life after husband's dead'. These their self respect and feeling of honor have become their belief system in their life, which they have raised their children and take their responsibilities with their best effort. The self-help group has helped them to find their self-identity and has sustained emotionally healthy. This group has been also empowering them through their voices being heard to the outside society. They have made an effort which their existence is recognized by the country and the military system. The findings of this study can be used as a system to gather opinions and to provide information and program which may be accepted politically and then applicable and integrated social work service through the social support system and networking.

• Journal of Preventive Medicine and Public Health
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• v.39 no.3
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• pp.229-234
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• 2006

Objectives: Cardiovascular disease is one of the main causes of death and morbidity in Korea. In this study, the prevalence and incidence of developing hypertension in a male-workers' cohort were investigated during 3-years follow-up with a view to find the risk factors that affected the development of hypertension. Methods: Among the 5,374 people who participated in a routine health check up, 3,852 people with normal blood pressure and who had no history of hypertension were prospectively followed up for 3 years. The classification of hypertension was based on the JNC7 report (the Seventh Report of the Joint National Committee on Prevention, Detection, Evaluation, and Treatment of High Blood Pressure). Life style factors and underlying diseases that were related to the risk factors of hypertension were collected by using a self-report questionnaires via the internet. Results: The prevalence of hypertension was 28.3% (1,520/5,374) at the first screening (2001). It was found that the incidence in 2004 of hypertension for the follow-up subjects (3,711) who had normal blood pressure in 2001 was 7.6 per 100 person-year. Multiple logistic regression analysis of the variables related to the risk factors of hypertension was carried out. The relative risks were 1.037 (95% CI=1.022-1.053) as the age increased 1 year and 1.039 (95% CI=1.023-1.055) as the body mass index increased $1kg/m^2$. The relative risk for the prehypertensive group was 2.501 (95% CI=1.986-3.149) compared to the normotensive group. These results showed that age, body mass index and the baseline blood pressure were significantly related to the incidence of hypertension. Conclusions: The incidence of hypertension was 7.6 per 100 person-year during follow-up. It was concluded that the risk factors for developing hypertension in the short-term were age, BMI, and prehypertension; Especially, this showed that it is necessary for prehypertensives to manage their body weight and blood pressure to prevent hypertension in middle-age by modifying their life style.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.193-203
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• 2019

Family films with insight of the society are now recognized as significant texts to communicate with audience from the beginning of the history of film and to reflect various viewpoints on changes of the times and socio-cultural context. In such aspect, the films of Hirokazu Kore-eda are very significant in that they suggest very sharp view on modern society through family narrative. His family narratives not only presented a profound reflection on the modern society and human relations through themes on death, loss, severance, and alienation, but also formed a public sympathy based on success in the box-office numbers despite his heavy subjects. His such achievement is closely related to the format of spatial representation to record 'time' and 'daily life' as well as the family film as a narrative form to draw the meaning of a family. Therefore, this study analyzes the family narrative and the format of spatial representation in the films of Hirokazu Kore-eda, and could find the film form where life and space closely communicate each other to reach the topic. This study, concentrating on the spatial representation and the roles and meanings of formal factors in family narrative, can find its own value in its expansion out of the previous studies which adopted macro perspectives on the trend of the times.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.325-355
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• 2007

A national funeral was a ceremony for king symbolizing a country in Joseon. The Gukjangdogam had three practical affairs: ibang and ibang, sambag. Each practial affairs was ready for various implement and finished a national funeral very well. So various important. The Daeyeo and the Gyeonyeo which carried directly the dead from a palace to a burial in the national funeral was a chief implements to handle with careful. All people had to carry heartily him as a Daehaewang which means a previous king. But three practical affairs belonging to the Gukjangdogam made various implements directly or indirectly related in a Daehaengwang and symbolized has authority. They were related in succeeding to the throne. The departure of a funeral in Joseon was a space and a time to appear his authority. The Gukjangdogam progressed it like going in and out the palace in the life. We knew it was ready for the departure of a funeral equalizing to the life and the death. The Gukjangdogam made the best of various implements using in going in and out the palace in the departure. We saw the Confucian view about living and dying through the implements used in the departure. The Gukjangdogam assembled many technicians around the country. They had to make various implements as high-level technicians at certain hour under the supervision of officials. The Gukjangdogam payed and compensated for their labors. There is an indissoluble connection between them. The technicians belonging to three practical affairs were ready for the implements for a national funeral: newly-made and repair, existed-implements use etc. So a national funeral can be called 'the feast of techniques' as well as complexity of techniques' in the Joseon.

• Cross-Cultural Studies
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• v.44
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• pp.343-372
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• 2016

This paper introduces symbols from Ghana, the 'Adinkra', and expands upon the concepts associated with it. In other words, the world view, values and scalability that appear to form philosophical thoughts in everyday life. 'Adinkra' are symbols from Ghana in West Africa. Adinkra means 'goodbye' or 'farewell'. There are some 400 Adinkra symbols, but the meanings of the symbols have been lost. The first book on Adinkra is 'The Adinkra Dictionary' (1998) by W. Bruce Willis. Adinkra is related to the Ghanaian culture, and represents concepts such as philosophical ideology, history, historical figures, myths, legends, animals, plants, etc. In the old days, because of its meaning-'goodbye' or 'farewell'-Adinkra was generally used for funerals. But today, Adinkra is utilized in a full range of cultural events and activities. Each of the 'Adinkra' has various meanings. According to Willis, Adinkra is ever-evolving and constantly expanding. As a matter of fact, Adinkra continues to expand, evolve and develop. Nevertheless, no books have been published on Adinkra since Bruce Willis (5 May 2016 to the present). Adinkra provides insights into the rich philosophical, educational, and historical significance of Africa. Therefore, Adinkra requires evolution, expansion, and research. In this study, we will examine the Adinkra, divided into four categories. The first is related to God and the powers, the second is related to moral education. The third symbolizes 'love' and 'friendship'. and lastly, the fourth is 'life' and 'death'.

• Journal of Hospice and Palliative Care
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• v.14 no.2
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• pp.101-109
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• 2011

Purpose: The Assessing Care Of Vulnerable Elders project has developed indicators for the quality of the end-of-life (EOL) care. However, family members of cancer patients may have a different view on the quality indicators (QIs) established by health care experts. We evaluated the QIs from the family members' perspective. Methods: The information used in this study was gathered by surveying family members of cancer patients who were admitted to the inpatient hospice ward in Korea. A cross-sectional anonymous questionnaire was distributed to 120 potential respondents from July to October 2009. We included 69 responses in this study (effective response rate, 57.5%). Statistical analysis was performed by using SPSS for Win ver. 14.0, with independent t-test and Pearson's chi-square test. Results: Among QIs for good hospice care, families agreed the most on "Medical examination by the palliative care team or specialist" (88.4%) and "Dying in the family's presence" (88.4%). They agreed the least on "Discussing cardiopulmonary resuscitation with patients" (15.9%). Among QIs for bad hospice care, "Occurrence of fall or pressure ulcer are undesirable" showed the highest agreement rate (94.2%). The lowest agreement rate was 11.6% on "Dying in the hospital is undesirable." In addition, women, patients who were aware of their prognoses, and people with a high socioeconomic status tended to agree more on the QIs. Conclusion: Patients' families did not agree on some of the QIs recommended by previous studies. Family members' characteristics were related to their opinions on QIs.

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• Journal of Korean Medical classics
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• v.11 no.1
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• pp.224-307
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• 1998

The above study is based upon the Theory of Five Woon(Reasons) and Six Qi(Climates), namely Five dynamic Yin and Yang, the principle of five-six combination, the rules of ten periodically changing Woon and twelve periodically changing Qi, and its reference to the main chapters of the theory by several experts. After careful, comprehensive research and study, the followings are concluded. 1. The Theory of Five Woon and Six Qi controls all of the physical phenomena of the universe, yet it originates from Essence of the Sky that is replete and in constant motion within the abysmal expanse of the universe. So it is natural to claim that it is the Essence of the universe that is the source of the variety of phenomena in nature. 2. There is order of dynamics in the Essence and it is Yin Yang Five Movement and expressed by Five Woon and Six Qi. Therefore the Five Woon and Six Qi, which is the climatic changes of nature, is the basis and condition for all of the natural, physical occurrences including the organic phenomena of human beings. 3. Since the Sky embodied the number Five, and the Earth the number Six, Qi of the Sky itself is consequently Five Woon and Qi of the Earth itself is Six Qi. 4. In Sixty Repetition Intervals (Yuk Sip Kap Ja), the Sky took the number Six, designating the six times repetition of the ten Intervals of the Sky and the Earth chose the number Five, symbolizing five times recurrence of the twelve Intervals of the Earth. Though the number for the Sky is Five and the number for the Earth is Six, the two combine and interact in order for the Sky to exploit the number Six and for the Earth to use the number Five. This interplay implies the relationship of operation and principle of Yin in Yang and Yang in Yin. 5. There seems to be clear and intimate association between five dynamics, five bearings and five Qi' in nature and five organs, five stamina, and five emotions in physiological activities of human beings. Such an correlation apparently demonstrates the idea of climatic changes of the universe in balance among human beings, the Sky, and the Earth. 6. Because nature is of an endlessly dynamic organism itself, to have changes must mear there being movements. Thus the climatic changes in nature are the subsequent consummation of the interaction in mutual balance and unbalance of the rise and fall of the Five Woon and Six Qi. 7. The interpretation, by Chang Ji Chong of "Yin and Yang of the Sky are for birth and growth and Yin and Yang of the Earth for demise and interment" as an explanation that the first half is mainly for life and the second half for death, appears to be correct by his view that there is balance and harmony between the long and short and the strong and weak. 8. In addition to Three Yang and Three Yin, as attributes of the Intervals of the Sky and the twelve Intervals of the Earth, Five Woon and Six Qi are utilized in the annual observation of the perpetual changes of climates.

• Journal of Sericultural and Entomological Science
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• v.13 no.2
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• pp.81-94
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• 1971

This research is conducted to study the effect to rebbuding, death atop, yielding and occurrence of twig blight disease with the interemediate cutting periods of mulberry branch and at the picking levels of leaf remains in autumn. The results obtained are as follows: 1. Re-budding branches are decreased with delaying of interval cutting period, and that more leaves remained lesser both re-budding branches and buds are observed. Therefore, it is better that leaves remained are placed on the upper part of branch, practically with 3-5 leaf remains. It has decreased re-budding branches, in case cutting is conducted in Sept. 20 with picking leaving 3-5 leaf on. 2. With regard that all picking increases the percentage of death atop of the branch and upper half part picking increases slightly over the other treats. Although it seems unlikely to be different in the other treats with cutting period, exception of all picking, it is elucidated better that the all picking after cutting in Sept. 15 represents unusually high, seemingly effected by the temperature contition preferable to the life of twig blight disease along with the lack of branch nutrition caused by the all picking. 3. In view of yielding, it has no difference in autumn yielding with cutting period, but more picking levels of leaf remains, more yielding. In spring yield, both no picking and all picking is the lowest, in spite of cutting period. Each treat produces high yielding except the no picking if rutting is done in Sept. 15 and Sept. 20, respectively; otherwise it is done earlier or later, each treat produces low yielding. It is suggested that yielding ability in following spring affected by the autumn picking because all picking treats represent lower yielding ability than no picking ones except of cutting in Sept. 15 and Sept. 20. With respect to total yield in spring and autumn, it is represented that other treats, among which cutting in Sept. 15 and Sept. 20 is especially high, produce higher yielding than both no picking and all picking. But no difference seemed in leaf remained treats. In these respects, it may be concluded that 3-5 leaf remains after the interval cutting in Sept. 15 to Sept. 20 increases the yielding throughout two seasons and it is suggested that 3-5 leaf remains after cutting in Sept. 5 to Sept. 10 has no difference with no picking and cutting after that day. 4. Diseases in the branch remained are twig blight, massaria-bye, and Die-back, of which twig blight attacks tremendously and slight ouurence in messaria-byo and Die-back. In ouurence of twig blight, it is appeared much in all picking and seasonal occurence high in Sept. 15 with 92.9, and in Sept. 30 with 100 as index, respectively. Also it occurs ,considerably in upper part picking but little occurrence in no picing. 5. It is considered that negative correlation among re-budding percentage. No. of re-budding leaf, and spring yielding is found, seemingly without heavy correlation at -0.42, and -0.27, respectively. However, death atop of branch and occurence of twig blight has little correlation with spring yield. On the other hand, positive correlation highly appeared with the correlation coefficient at 0.8 between occurence of twig blight and death atop of branch.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.