• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.70-80
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• 2013

The purpose of this study has placed its meaning in the use as the basic material for the research of the person's facial expressions, by researching and analyzing the visual reactions of recognition of children according to the facial expressions of emotion and by surveying the verbal reactions of boys and girls according to the individual expressions of emotion. The subjects of this study were 108 children at the age of 6 - 8 (55 males, 53 females) who were able to understand the presented research tool, and the response survey conducted twice were used in the method of data collection by individual interviews and self administered questionnaires. The research tool using in the questionnaires were classified into 6 types of joy, sadness, anger, surprise, disgust, and fear which could derive the specific and accurate responses. Regarding children's visual reactions of recognition, both of boys and girls showed the high frequency in the facial expressions of joy, sadness, anger, surprise, and the low frequency in fear, disgust. Regarding verbal reactions, it showed the high frequency in the heuristic responses either to explore or the responds to the impressive parts reminiscent to the facial appearances in all the joy, sadness, anger, surprise, disgust, fear. And it came out that the imaginary responses created new stories reminiscent to the facial expression in surprise, disgust, and fear.

• School Mathematics
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• v.17 no.4
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• pp.633-652
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• 2015

The purpose of the present study is twofold: one is to understand secondary mathematics teachers' capacity to sort out given tasks based on Stein & Smith(1998)'s Cognitive Demands of Mathematical Task Framework; the second is to examine how the teachers assess the levels of cognitive demand indicated in students' reponses and how they modify the tasks to elicit the students' higher levels of cognitive activity. The analysis of 45 teachers' responses to the survey indicates that the teachers, in general, could select appropriate tasks for the given goal of the lessons but some made the decision merely by their appearances. Even though the teachers chose a particular level with different reasons amongst each other, most teachers could correctly evaluate the levels of cognitive demand of the students' responses. Finally, teachers could pose cognitively demanding tasks using various methods, but a number of them felt challenged in creating word problems that were realistic and aligned with curriculum.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.470-487
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• 2020

The study was aimed to find out whether there are differences in perception toward multicultural youth's career problems according to the four stages of life cycle(adolescence, pre-marriage, family formation child rearing), and multicultural families and non-multicultural respondents. Also is was aimed to find out if there is an interactive effect on problem recognition. A nationwide survey was conducted using questionnaire on the perception of multicultural youth careers and a total of 1,338 responses were used for the final analysis. For the research purpose, a two-way MANOVA was performed. First it was found that multicultural family members had higher negative perceptions of multicultural appearances than non-multicultural family members had and the adolescents had relatively low negative perceptions of personal relationships and social life adaptation of multicultural youth. Also, as a result of examining whether there is an interaction effect on perception of career problems of multicultural adolescents between multicultural families and their life cycle stages, interaction effects existed in all aspects of family environment, career activities, education, and institutions. It has been shown that there are differences in the perception of career issues among members of multicultural families or among non-cultural families.

• Journal of Nutrition and Health
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• v.40 no.7
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• pp.658-666
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• 2007

Among current health-related issues, obesity is considered one of the foremost, and the importance of this subject has fostered a national interest in body weight loss. In this study, the differences in recognition of body weight loss according to age and gender are investigated. The subjects of the study were 720 (male: 360 and female: 360) aged between 10-60 years, who had experienced to try body weight loss during 6 months prior to this study. Anthropometrics, general characteristics, personal reasons for body weight loss, comprehension of body weight loss, and a knowledge of diet-related issues were assessed through a questionnaire. The anthropometric measurements showed significant differences in height, body weight (present and desired) and BMI (p < 0.05) by age and gender. The difference between desired body weight and actual body weight was greater for younger subjects or female, regardless of whether they had under- or normal body weight (p < 0.05). Reasons for body weight loss varied; younger subjects and female tended to lose body weight "to enhance their appearances", whereas the older subjects and male desired "to improve their health" (p < 0.05). Subjects had different concepts concerning body weight loss; younger subjects and female considered body weight loss as "maintenance of a slender figure, or becoming more lean". On the other hand, older subjects and male thought body weight loss to be "effects approaching normal body weight" (p < 0.05). From our studies, it can be concluded that attitude on concerning body weight loss varied according to a age and gender. Thus, consideration of this individual differences would be vital in developing contents of a particular nutritional education program for body weight loss.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of Korean Orthopaedic Sports Medicine
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• v.4 no.1
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• pp.65-69
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• 2005

Numerous small fibrinous rice bodies are a common finding in joints afflicted with rheumatoid arthritis(RA) or seronegative arthropathy, Subacromial and subdeltoid bursitis of the shoulder associated with multiple rice body formation is a rare occurrence. To our knowledge, this is the first report to describe the arthroscopic treatment of massive rice bodies in both glenohumeral joint and subacromial-subdeltoid bursae combined with full thickness of rotator cuff in RA. Besides, the MR appearance of subacromial-subdeltoid bursal rice bodies have been previously described in only few recent reports. Therefore, we also describe the MR appearances subacromial-subdeltoid bursae associated with multiple rice bodies in RA.

• Sijohaknonchong
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• v.26
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• pp.93-123
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• 2007

Ahn Minyoung's editorial work of gajib(songbook) was the work for realization of artistic ability which had been a pursuit for his life. According to recent excavation of 'Seungpyeonggok' that is another gajib editted by Ah Minyoung, it is found that his editorial work of gajib was began in earlier days. 'Seungpyeonggok' composes 12 pieces of works, and it arranged each piece of work with melody of gagok, respectively. For the size, it is evaluated to 'the smallest gajib' among the left gajib at present. This gajib was composed to celebrate the gathering of Seungpyeonggye which led by Ahn Minyoung. There is Preface which was written by Ahn Minyoung, and the content of preface could be similar to the one in his another gajib 'Geumokchongbu' except some omission, variation, or alternation of content and phrase partly to fit for the character of each gajib. The names of Seungpyeonggye's members are shown in the preface of 'Seungpyeonggok', so it is important material for studying the appearances and activities of the members at that time. The purpose and intention of Seungpyeonggye's gathering was clarified in the preface of 'Seungpyeonggok' was composed to the repertoir of gagok sung at the celebration party. All the collected works are related to Daewongun directly or indirectly in their contents. Because the celebration party of Seungpyeonggye was designed for Daewongun, all the contents are dedication for Dasewongun easily. And the works of 12-pieces previously discussed were found as playing repertoir, 'type of pyeon-ga' which was composed to 8-pieces and 4-pieces identically.

• Journal of Sasang Constitutional Medicine
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• v.19 no.3
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• pp.99-125
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• 2007

1. Objectives This study focuses on the Revision and Translation of the Mongolian's Sasang constitution Diagnosis Questionnaire (SDQ-M) 2. Methods 03'SDQ's questionnaire analysis study have been performed based on the absolutely diagnosed group of 423 cases who have respond to the Sasang constitution Diagnosis Questionnaire (SDQ) from June to November, 2003. 3. Results and Conclusions Revised 05'SDQ-M's traits, which result from on the basis of 03'SDQ's questionnaire analysis study results and socio-cultural understanding via Mongolian physical constitution diagnosis as well as Mongolian translators' interchange, are as follows. (1) 05'SDQ-M is mainly adjusted in terms of external appearances and the nature of illness symptoms. (2) 05'SDQ-M's physical constitution questionnaires are equally adjusted. (3) 05'SDQ-M is re-used, deleted, or created on the basis of 03'SDQ's questionnaire analysis results. (4) 05'SDQ-M is translated to be easy for Mongolians.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.166-175
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• 2014

The negative influence by disaster on human's life could be so tremendous. I like to give attention to the disaster, considerable many cases, that disaster was used as stimulation or motivation for artist's creativity, especially in the film among various art activities. The reason I focus on disaster through art activities is disaster is closely related to human's daily life and also aesthetic consciousness. I like to look into the flood disasters' appearances described in the both films, and and the people's aesthetic consciousness expressed from the flood disasters. In the traditional education of the East. 'cultivation' has been used as the meaning of self education which develops mostly one's personality by doing self practice, and self insight meditation. And In the modern western education, cultivation has been identified as the meaning of unique mission, that each human being expresses one's own individuality, that is personality, progressively. I think 'the aesthetic ' already immanence in human's mind. Analysis for The beauty of Kant is also starts from special nature, delightfulness. The aesthetic doesn't appears in sight easely because it always exists in one's bottom of heart like mist. That's the reason we try to reach to the aesthetic through the medium, that's art. Human can achieve aesthetic cultivation which reaches to the aesthetic by having lot of events and experiences in the process.

• Journal of the korean academy of Pediatric Dentistry
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• v.35 no.4
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• pp.731-736
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• 2008

Odontogenic keratocyst is classified as a developmental odontogenic cyst and is believed to arise from cell rests of the dental lamina. It accounts for 3% to 11% of all jaw cysts and they occur twice as often in the mandible as in the maxilla. Histologically, the cysts are lined by stratified, keratinizing, squamous epithelium. Daugther cysts or microcysts are often observed microscopically. The recurrence rate has been reported variously, but is known by its high recurrence rate. These lesions are more common in males than in females, occur over a wide age range and are typically diagnosed during the 2nd and 3rd decade. The diagnosis depends on the cyst’s microscopic features and is independent of its location and radiographic appearances. This cyst is a radiolucent lesion that is often multiloculated, has a smooth or scalloped border. The cyst is characteristically located in the body and ramus of the mandible, and often occurs in conjunction with an impacted tooth. This case report describes an odontogenic keratocyst on the lower right molar area of an 8-year-old girl. The cyst was removed under the general anaesthesia, and is being checked regularly for any recurrences.