• 국제물리치료학회지
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• 제10권1호
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• pp.1711-1716
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• 2019

Background: Previous researchers have investigated the mechanical and neurophysiological effects of manual mobilization, however little research has been done on muscle tone and muscle stiffness. Objective: To compare the effects of posterior-anterior (PA) mobilization with weight bearing on sling and conventional PA mobilization on the bed. Design: Randomized controlled trial (single blind) Methods: The subjects were 16 male university students and randomized to sling mobilization group (SMG, n=8) or conventional mobilization group (CMG, n=8). SMG received PA mobilization using a sling and CMG received traditional mobilization on the bed during lumbar mobilization. Results: Both left and right muscle tones of SMG increased, but left muscle tone of SMG were increased and right muscle tone was decreased after intervention. In addition, both left and right muscle stiffness of SMG were also increased, however left muscle stiffness of SMG was increased and right muscle stiffness was decreased. The muscle tone and muscle stiffness of SMG were higher than those of DMG, especially the right side was statistically significantly higher. Extension of SMG, extension and flexion of CMG were increased statistically significantly except for Flexion of SMG (p<.05). There were no significant differences between the groups in Extension and Flexion. Conclusions: This study suggests that lumbar spine PA mobilization using sling is beneficial in improving muscle tone, muscle stiffness, and trunk movement.

• Physical Therapy Rehabilitation Science
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• 제8권3호
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• pp.141-145
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• 2019

Objective: The purpose of this study was to compare walking conditions (straight line and curved path) on walking patterns in persons who had experienced hemiplegic stroke and to determine whether if they adapt their walking pattern and performances according to changes in environmental conditions. Design: Cross-sectional study. Methods: Forty-four hemiplegic stroke survivors participated in this study. This study measured walking performance in three different walking conditions, such as straight walking, the more-affected leg in the inner curve walking, and less-affected leg in the inner curve walking conditions, and a 2-dimentional gait analysis system was used as a primary measurement. This study also measured secondary clinical factors including the Timed Up-and-Go Test, the Trunk Impairment Scale, and the Dynamic Gait Index. Results: After analyzing, cadence and step length of the less-affected side, stride length in the more-affected side, and stride length in less-affected side were significantly different among the three different walking conditions in this study (p<0.05), but other temporospatial parameters were not significant. Cadence was the largest in the straight walking condition. Step length in the less-affected side, stride length in the more-affected side, and stride length in less-affected side were also the longest in the straight walking condition. Conclusions: The results of the study suggest that hemiplegic stroke survivors show walking adaptability according to changes in walking demands and conditions, and moreover, cadence and step and stride lengths were significantly different between straight and curved walking conditions.

• 건축역사연구
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• 제10권1호
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• pp.61-74
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• 2001

This paper intends to explore some aspects of space as metaphor for the being of a subject and a subjected state of being. This paper deals with 3 Korean communities. Examples include (1) Yeog-maeul in Honam province (2) Samni village in Youngnam province (3) Bem Island in Seoul. Yeog-maeul is the village of Sannmin's (commoners), which is socially isolated from it's surrounding Yangban's villages. The social life in Yeog-maeul is generally divided two areas : that of men and women. The former is expressed as a life Dorang-Pak(outside of the stream) and the latter as Dorang-Ahn(inside of the stream). The former is a life of formality, sacredness. The latter is a life of informality, profaneness. Samni is a typical Yangban's village. With the support of literature such as Kohyun-Hyang-Yak(古縣鄕約). Yangban has exercised the social control which is widely practiced in various fields ranging from the fetal movement to the location of tombs. Bam Island is located Han river. It's resident had lived on the Island for over 700 Years, until they were forced to move collectively out of the Island, and settle in Chang-chun dong of Seoul. Yet, these people have kept holding Bugundang Kut, ritual for the entire village. The former Bam Islanders whose traditional culture is suppressed by the surrounding postmodern culture, have tried to fill the gap between their ideal and actual lives by symbolically realizing the former in the community ritual. In ritual life, the former Bam Islanders are deemed to sacred, while the rest of citizens of Seoul profane. The residents of Yeog-maeul and Samni village which live a life an their traditional space, has been subjects. But, the former Bam Islanders which moved collectively out of traditional space and settle in the postmodern space experience the subjected state of being.

• 미술이론과 현장
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• 제9호
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• pp.7-31
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• 2010

In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano's human rights and as a tool to recover the Chicano people's cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca's works, and the Balmy Alley Mural Environment project in San Francisco's Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.

• 생명과학회지
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• 제21권1호
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• pp.1-8
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• 2011

본 연구는 남녀 노인을 대상으로 12주간의 트레이닝을 실시한 후, 대요근과 대퇴부 근육의 근 횡단면적의 변화를 검토하였다. 연구 대상자는 65세에서 80세까지의 노인 58명(남성 30명, 여성 28명)이었으며, 대조군 19명과 운동군 39명으로 나누어 실시하였다. 측정항목은 신장, 체중, 체질량, 대요근과 대퇴부의 근 횡단면적을 측정하였다. 근육의 평가는 자기공명영상법(MRI)을 사용하여 실험 전, 후 실시하였다. 운동군은 대요근과 대퇴부 근육을 증가시키기 위하여 특별히 고안된 기계를 사용하여 평균 주 2일, 12주 동안 23번의 트레이닝을 실시하였다. 대요근의 측정부위는 L4와 L5의 중간부위를 분석하고, 대퇴부는 대퇴골과 무릎까지 길이를 나누어 50%부위에서 분석하였다. 트레이닝 후, 운동군의 대요근 근횡단면적은 9.4% 증가하였다(남성 11.5%, 여성 8.4%). 그러나 대퇴부 근 횡단면적은 남녀 모두 운동 후 증가경향은 나타나지 않았다. 또한 같은 기간 대조군의 근 횡단면적에서도 유의한 변화는 나타나지 않았다. 대요근은 자세 유지와 허리, 골반 및 대퇴부의 연결에 중요한 역할을 담당하기 때문에, 특히 노인의 이동활동에 중요하다고 사료된다. 본 연구에서는 새로이 개발된 트레이닝 기계를 사용하여 단기간트레이닝 후, 대요근 근 횡단면적의 증가를 확인하였으며, 이것은 노인들의 근력 및 이동능력의 향상 가능성이 시사되었다.

• 대한치과교정학회지
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• 제24권1호
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• pp.149-159
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• 1994

The purposes of present study were to evaluate changes in models and lateral cephalometric head films during orthodontic treatment and to compare the amount of incisal retraction and anterior movement of molars with the two approaches of the retraction method of canine(sectional canine retractions vs sliding canine retractions) and the anchorage management(head gears vs no head gears, transpalatal arches vs no transpalatal arches and lingual arches vs no lingual arches) and to evaluate changes during orthodontic treatment in models with relation to lateral cephalometric head films. 67 Korean women with Angle's Class I bialveolar protrusion were selected, whose initial chronologic age was above 16 yrs. Models and lateral cephalometric head films were taken before and after orthodontic treatment with four bicuspid extraction. the results were obtained as follows. 1. Significant decreases were observed in intermolar width, arch length and arch perimeter of maxilla and mandible but significant difference was not observed in intercanine width of maxilla and mandible during treatment period. 2. The linear change of the upper incisor to upper lip was 2.84:1 and the linear change of the lower incisor to lower lip was 1.45:1 3. There were no significant differences between the two groups(sectional canine retractions vs sliding canine retractions), the !we groups(transpalatal arches vs no transpalatal arches) and the two groups(lingual arches vs no lingual arches) in the amount of incisal retraction and anterior movement of molars. There were a greater amount of maxillary incisal retraction and a lesser amount of anterior movement of maxillary molars with the use of head gears than no use of head gears. 4. Changes during orthodontic treatment in models with relation to lateral cephalometric head films were obtained as follows : 1) Maxilla Central incisors were moved 3.79mm backward, canines were moved 0.22mm laterally and 3.70mm backward, and molars were moved 0.535mm medially and 2.29mm forward. 2) Mandible Central incisors were moved 3.04mm backward, canines were moved 0.145mm laterally and 3.92mm backward, and molars were moved 0.755mm medially and 1.77mm forward.

• 영어영문학
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• 제54권2호
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• pp.301-322
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• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.

• 조형예술학연구
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• 제13권1호
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• pp.39-60
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• 2008

Nature/Landscape is surrounding space in which we make living. It is considerably comprehensive tenn. but on the other hand, the site can be existence, experience, and certain circumstance with boundaries. Based on these places, through contemporary art criticism, this study is to contemplate how art since 1960s, especially, site-specific art in three-dimensional space intervene in the environment. Artists of today put more value on the process and act of art making founded on the external, and they tend to create the characteristic of site or to indicate linguistic documentation. Moreover, a large-scale tendency of contemporary sculpture and 'occupation of specific site' seems to accede spatial conception from architecture. The core that recognizes these artworks is with body, that is to say, the space in which Self becomes the subject by changing the structure of the work while moving around it. In particular, 'Site-specific Art (in situ)' sometimes determines the form inward or outward It also relates directly on viewer's five senses by looking, hearing, and feeling, touching, and interacting. For example, in Richard Serra's , the viewer who moves around the work has the role to manipulate the movement of the work by perception. Works of In situ and works that planned for specific site suggest 'occupation of site' as of the function of the work These sites are ideal and special as well as being independent. Ultimately, it seems that the creative process of contemporary artists is to carry those intended form on the structure of perception. Furthermore, law of nature such as entropy, and acceptance of contingency helped organic structure of artwork become more abundant. For Robert Smithson, entropy suggests of reaching to a state of equilibriumin which everything is the same. This means that any core is justifiable and any rank is possible. Because the world without a core is a labyrinth of boundless exploration.