• Asian Pacific Journal of Cancer Prevention
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• 제14권5호
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• pp.2963-2966
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• 2013

Infection with Opisthorchis viverrini (OV) due to eating certain traditional freshwater fish dishes is the principal risk factor for cholangiocarcinoma in Northeast Thailand where the infection is endemic and the incidence of this form of primary liver cancer has been the highest in the world. This paper is the second report of a prospective research project to monitor the impacts of a national liver fluke control programme in a rural community of Northeast Thailand. A sample of 684 villagers aged 20-65 years completed an interview questionnaire and were tested for infection using the Kato thick smear technique. The questionnaire was designed for the exploration of associations between OV infection, previous treatment with praziquantel, and knowledge and beliefs about the drug. The data were analysed using descriptive statistics and multiple logistic regression. The overall prevalence of OV infection was 37.2% and was highest in the 20-35 year age group, in those with a university degree and in those employed in the government sector. As many as 91.8% reported eating fish dishes known to place them at risk of infection. In the multiple regression analysis, previous use of praziquantel and lack of knowledge about whether or not the drug has a protective effect against re-infection were the only factors related to OV infection ($OR_{adj}$= 2.31, 95%CI =1.40-3.79 and $OR_{adj}$= 1.95, 95%CI= 1.24-3.05). The findings were discussed in terms of the possibly unwise dependency on praziquantel as a primary element in a control programme.

• 한국유통학회지:유통연구
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• 제1권1호
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• pp.41-63
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• 1996

In spite of economy has a critical cycle such as, production, distribution and consumption, we hardly concentrated our study to distributional system and behavior. Especially in Korea, Traditional idea had tried to ignore the people who work in this economic value at all. Manufacturers, other than retailers and wholesalers, had a belief that the manufacturing can control distributional channels forever. Unfortunately, technological and educational advances caused the quality equalization among developing and developed countries as well as among big and small manufacturers in their products. By this reason, economists are searching the economists dark continet' mentioned by Peter Drucker as a new source of wealth. According to a report by well-known economic research institute in Switzerland, Korea has classified in the lower level group in terms of international compatitive power. At the same time, business firms complain that they are suffering from lack of SOC and infrastructures. As an important mean to overcome the economic bottleneck, economists suggest in improve our distributional atmosphere. Basically, distributional study has two sub-fields as: commercial and physical distributions, Distributional system mainly concerns about to shorten the distances of time and space between production and consumption. The closer the distances, the higher efficiency can be achieved. Building distributional system will cost, but tile results will save social costs. Based on this idea, economists proposed several ways to cut the distances and to save costs, Naturally, they hope their beliefs can be adapted by business firms and governments. But frequently, their theories doesn't make any fruit. This paper has studied about the composition of joint transportational and distributional systems. And, even though there's no Marshall in tile real world at this point authors are trying to define the transportational and physical distributional costs, the most powerful factor that can impact to economic decision making.

• 한국과학교육학회지
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• 제24권6호
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• pp.1158-1172
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• 2004

이 연구는 중등학생들이 가지고 있는 자연에 대한 관점중 인식론적 관점과 존재론적 관점과 그러한 관점의 원인을 알아보고자 하였다. 156명의 중등학생들이 참여했고, 자료는 설문지를 통해 수집되었다. 이 설문지는 선행연구에 기초하여 연구자들에 의해 개발되었다. 연구 결과, 중등학생들의 자연에 대한 관점 중에는 자연은 알 수 없다는 인식론적 관점이 가장 많았다. 이러한 관점의 근원은 자연의 규칙성과 조화, 예측 가능한 자연 현상, 자연 현상의 순환 과정이나 인과 관계, 자연과 인간과의 관계 등으로 매우 다양하였다. 중등학생들의 존재론적 관점에는 초자연적인 관점이 가장 많았다. 존재론적 관점들 중에서 학생들의 초자연적 관점은 그들의 신학적 측면의 영향이 광범위하게 나타났다. 과학이 다루는 세상이면서 동시에 과학의 대상물이 존재하는 물질세계인 자연에 대한 인식론적 관점과 존재론적 관점은 학습자가 과학 학습을 어떻게 이해하는지에 대한 바탕을 제공하는 중요한 자료가 된다. 앞으로 학생들이 가지고 있는 자연에 대한 인식론적 관점과 존재론적 관점과 그들의 과학 학습 과정 사이의 관련성의 연구가 필요하다.

• 한국심리학회지 : 문화 및 사회문제
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• 제26권4호
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• pp.479-499
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• 2020

본 연구는 한국 미혼 무자녀 성인을 대상으로 향후 자녀를 가지고자 하는 희망이 개인의 애착 그리고 정당한 세상에 대한 믿음과 어떠한 관련을 가지고 있는지 탐색하였다. 이를 위해 260명의 2-30대 성인을 대상으로 자기보고식 설문을 실시하였다. 먼저 주요 변인 간 상관분석을 실시하고, 자녀를 가지고자 하는 희망을 종속변인으로, 성별, 애착(회피애착, 양가애착), 정당한 세상에 대한 믿음(분배공정성에 대한 개인적 믿음, 절차공정성에 대한 개인적 믿음, 분배공정성에 대한 일반적 믿음, 절차공정성에 대한 일반적 믿음)을 예측 변인으로 투입한 위계적 회귀분석을 실시하였다. 그 결과, 성별을 통제한 위계적 회귀분석에서 회피애착은 자녀를 가지고자 하는 희망을 부적으로 예측하였다. 이후 정당한 세상에 대한 믿음 변인은 유의한 증분 설명량을 보였으며, 특히 절차공정성에 대한 일반적 믿음은 자녀를 가지고자 하는 희망을 정적으로 예측하는 변인인 것으로 나타났다. 이러한 연구 결과는 개인이 친밀한 관계에 대하여 가지고 있는 기대, 그리고 나아가 자신이 속한 사회의 공정함에 대하여 가지고 있는 믿음이 자녀를 가지고자 하는 희망을 일정 부분 설명할 수 있음을 보여준다. 본 연구 결과에 대한 의의와 제한점, 그리고 추후 연구 방향에 대해 논의하였다.

• International Journal of Computer Science & Network Security
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• 제22권11호
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• pp.222-228
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• 2022

In today's era of digital technologies, the problem of religious communication in the cyberspace is being actualized, since the globality and accessibility of the WWW makes it one of the most effective and promising channels for transmitting various kinds of messages, including those of a religious nature. Today, religious organizations and movements pay the closest attention to the virtual media space, not only using it to attract new followers, but also for religious PR, image-making and branding, informing the world about themselves through news from the life of the organization and its followers. An equally important form of electronic communication in the online sphere is currently the interaction of various religious movements and religious cultures in general, or the dialogue of confessions in particular. Research in the digital space makes it possible to identify important trends in religious spheres based on the analysis of the flow of information on the Internet, to demonstrate the specifics of individual media outlets and the consequences of their activities for interreligious dialogue, to study the role of the Internet in changing religious beliefs, the possibility of changing religious identity, retrospective development of religious enlightenment at the turn of the century, to determine the vectors of possible interreligious interaction and discuss the role of digital technologies in the work of religious structures, to state the need to continue an active dialogue between representatives of religious movements, to hold expert seminars on interreligious dialogue on a regular basis, and to record the risks generated by the digital space. Thus, the coronavirus pandemic served as a background and context, a litmus test and a catalyst for accelerating and intensifying interreligious, interfaith dialogue and dialogue between religious organizations and society.

• 복식
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• 제64권7호
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• pp.128-142
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• 2014

In the new media age, the importance of personal style is highlighted, as the fashion recipients independently create their own images by transforming and recombining the fashion information gathered from the fashion blogs - the most representative form of social networks. The study aims to identify the types and styles of imaginary ego-images represented on the personal fashion blogs as a new space of self-expression, based on Lacan's gaze; the imaginary of the unconscious world and the ego-concept. According to literature search, the imaginary ego-image is classified as narcissism, regression, identification, and virtuality. In the case study, Narcissism is represented mostly as bloggers' satisfaction and beliefs about their fashion styles. The degeneration represents childhood images including a mother, as well as retro and vintage images that recreate the fashions of bygone eras - such as medieval, $19^{th}$ or 20th century fashion. Identification is the connection with the various areas of culture and art, especially movies and music. Virtuality represents hypothetical situations of mythical, fairy tale-like, surreal, or dreamlike atmospheres and hypothetical bodies that appear removed, disassembled, or crooked. The imaginary ego-images emerged on the personal fashion blogs are also classified into specific style depending on the attributes of the ego images-such as kidult style, retro style, ethnic style, and surreal style.

• 건축역사연구
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• 제13권2호
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• pp.39-55
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• 2004

In terms of the way we perceive the world, the history of human beings might be said to be a history of two incompatible forces -'science' and 'myth.' Until today, both indispensable aspects have made human existence possible and characterized human culture. Nonetheless, an essential definition of myth has never been clearly explained. What is the general philosophical thought about myth? Current well known interpretations are so called Enlightenment and Romanticism of myth, which both has same criticism that they has not generally considered myth in terms of its technical function or specified contents. One who overcomes the limit of two current extreme beliefs on myth and also who concerned more with the ultimate origin of myth and its relation to the structure of poetry than the source of its vital accomplishments is philosopher Hans Blumenberg. For him myth is an artificial means and an answers to overcome the 'absolutism of reality.' On this point, the research concerns basically two issues. One is to investigate the functional and structural characters of myth through philosopher Hans Blumenberg's anthropological reflections. The other is to analyze architect Tadao Ando's works and thinking. The intention of the paper is not only to explore the relationship between philosophical theory of Blumenberg and Ando's architectural works, but also to suggest a new critical understanding on architecture from mythological point of view. I also expect that this research will suggests a concrete theoretical idea for constructing and construing artistic form and cultural space.

• 대순사상논총
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• 제47집
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• pp.241-279
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• 2023

『만법전(萬法典)』은 1986년에 처음으로 간행되었고, 1994년과 1995년에도 재간행되어 정체를 알기가 어려운 신비한 내용을 지닌 수련서 혹은 불교 계통의 서적으로 널리 알려져 왔다. 이제 『만법전』의 내용을 분석함으로써 증산교단(甑山敎壇)의 한 파인 서백일(徐白一)의 용화교(龍華敎)에서 간행한 책으로 밝혀졌다. 따라서 『만법전』에 실린 여러가사는 '증산교가사'로 규정할 수 있다. 『만법전』에 실린 가사에는 천지공사(天地公事), 의통(醫統), 도수(度數), 서신(西神), 천존(天尊), 지존(地尊), 인존(人尊), 치천하오십년(治天下五十年), 해원시대(解冤時代) 등 증산교단에서 고유하게 사용하는 용어들이 많이 언급되었고, 증산의 탄생장소, 탄생 시점, 성씨, 생존기간 등이 읊어져 있다. 그리고 증산이 했다고 전하는 말을 그대로 인용하여 노래하였고, 오선위기(五仙圍碁), 상씨름, 생장염장(生長斂藏), 언청신(言聽神), 기초동량(基礎棟樑), 해인(海印), 상계신(上計神) 등의 증산 고유의 용어에 대해서도 읊고 있다. 특히 증산이 제자들에게 외워준 한시(漢詩)의 일부 구절이 그대로 인용되고 있다. 한편 『만법전』에는 불교적 구원관도 확인이 가능한데, 특히 미륵신앙(彌勒信仰)을 중점적으로 노래하였다. 그런데 『만법전』은 전통적인 불교의 미륵신앙과는 다르게 미륵불의 기운과 능력을 지닌 특정한 인물의 탄생을 예고하고 강조하는 경향이 있다. 미륵세존(彌勒世尊)과 용화회상(龍華會上)을 강조하면서도 전북에 있는 모악산(母岳山) 금산사(金山寺)를 특별하게 읊고 있어서 금산사를 중심으로 한 증산이 바로 미륵불로 오셨다는 증산교인들의 믿음을 긍정적으로 노래한다. 나아가 『만법전』에는 용화교(龍華敎)의 교주인 서백일(徐白一)의 탄생일, 탄생장소, 수감년도, 출옥 시기, 호(號) 등이 언급되어 있어서 이미 세상을 떠난 증산을 대신해서 이 세상에 나온 구원의 절대자가 바로 서백일이라고 은근히 주장하고 있다.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.