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Review of 2020 Major Medical Decisions (2020년 주요 의료판결 분석)

  • Park, Nohmin;Jeong, Heyseung;Park, Taeshin;Yoo, Hyunjung;Lee, Jeongmin;Cho, Woosun
    • The Korean Society of Law and Medicine
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    • v.22 no.2
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    • pp.3-48
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    • 2021
  • Among the major rulings handed down in 2020, there were cases involving anaphylaxis, which is timely as a side effect of coronavirus and flu vaccine. And as a rare case, a ruling was handed down that if medical treatment was done so unfaithfully beyond the limit of patience of ordinary people, it can be an independent illegal act and a cause of compensation for emotional distress. Also, there was a ruling in the appellate court that evaluated disability rate applying the Korean Academy of Medical Sciences Guides for the Evaluation of Permanent Impairment, not McBride system. And the supreme court made it clear that telemedicine is illegitimate. In relation to duty of explanation, it is in the process of adding detail criterion on the firm principles in the individual cases. In regard of medical records, there was a case that even when a medical record is strongly suspected to be tampered with, it is not considered to be an obstruction of proof. There were cases that resulted in different conclusion between the court of first instance and the appellate court rulings. Lastly, in the face of a growing number of cases in which doctors are sentenced to prison for malpractice, we reviewed a ruling that sentenced a doctor to prison.

Experiences of Military Prostitute and Im/Possibility of Representation: Re-writing History from a Postcolonial Feminist Perspective (기지촌 여성의 경험과 윤리적 재현의 불/가능성: 탈식민주의 페미니스트 역사 쓰기)

  • Lee, Na-Young
    • Women's Studies Review
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    • v.28 no.1
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    • pp.79-120
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    • 2011
  • The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

Analytical Psychological Interpretation of the Book of Revelation Focused on Main Visions (요한 계시록의 분석심리학적 해석 : 주요 환상을 중심으로)

  • DukKyu Kim
    • Sim-seong Yeon-gu
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    • v.34 no.2
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    • pp.95-148
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    • 2019
  • The Testament is 'the repository of the psyche' which can understand the images revealed from human life, mind, and numinous experiences. When the Scripture is psychologically interpreted, not only does it offer an abundance in biblical exegesis, but is also incredibly valuable in understanding the actual dimensions of life. This study examined the meaning of main visions in the Book of Revelation from the perspective of analytical psychology. The core contents of these visions are 1) the image of Christ represented as One like the Son of Man and Apocalyptic lamb, 2) Sun and Moon Woman and Dragon, 3) Whore Babylon and Bride New Jerusalem, 4) Hieros Gamos and Descending New Jerusalem. Such archetypal images lead to become conscious of an individual, and at the same time the visions of Revelation as a drama of archetype present the transion of civilization, as ultimately penetrating the history of the time period. This article contemplated on the characteristics of the archetypal image emerging in the visions and categorized them into the father archetype, mother archetype, or anima archetype. The ultimate purpose of all the visions can be understood as the ascent, conjunction and descent. This will mean to become conscious of human and incarnation of God, i.e. the individuation process. In our time suffering from masculine one-sidedness, the vision of new Jerusalem presents how the feminine can redeem an individual and this world.

"A Study on Hebrews Clothing in the Old Testament" - Especially on Hair Styles, Headgears, Footwear and Personal Ornaments - (구약성서(舊約聖書)에 나타난 히브리인의 복식(服飾) - 두식(頭飾), 신발 및 장신구(裝身具) 중심(中心)으로 -)

  • Park, Chan-Boo
    • Journal of the Korean Society of Costume
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    • v.10
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    • pp.63-80
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    • 1986
  • The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

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Aging Effects On Partitioning Coefficients of Cd, Cu, and Zn in Metal-spiked Soils (토양에 유입된 카드뮴, 구리, 아연의 시간에 따른 분배 계수의 변화)

  • Kim, Bo-Jeong;McBride, Murray B.
    • Journal of Soil and Groundwater Environment
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    • v.13 no.5
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    • pp.47-56
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    • 2008
  • Temporal changes of metal solubility have been repeatedly observed in soils equilibrated with metal salt solutions. This phenomenon is known as aging, yet factors that affect the degree of metal aging remain largely unexamined. In this study, we compared the extent of aging on metal partitioning depending on soil, metal, and metal loading. Five soils spiked with four levels of Cd (2.5-20 mg ${kg}^{-1}$), Cu, and Zn (50-400 mg ${kg}^{-1}$) salt solutions were aged in the laboratory up to 1 year. The partitioning coefficient ($K_d$) of each metal was calculated from the ratio of total to dissolved metal concentration in samples collected at times ranging from 1 day to 1 year. The highest $K_d$ values for Cd, Cu and Zn were recorded in a Histosol, Andisol, and fine-textured Alfisol, respectively, whereas the lowest $K_d$ was recorded for an Oxisol and coarsetextured Alfisol. For all soils, a pattern of increasing Kd with aging was evident for Cd and Zn, but not Cu. Rapid Cu sorption was limited when dissolved organic matter was high in soils. In highly-retentive soils, $K_d$ values seemed to be insensitive to metal loading, although a longer period was required for the higher metal loadings to reach the same degree of metal aging as the lower loadings. In soils with low sorption capacity, the $K_d$ values were determined more by metal loading than by aging. Therefore, marked differences can be expected in the degree of metal aging in spiked soils by the soil type, metal and amount of metal added.

A Study on the Ambivalent Characteristic Displayed in Niki de Saint Phalle's Assemblages and Shooting Paintings by Looking Into Her Trauma (니키 드 생 팔의 트라우마를 통해 살펴본 아상블라주와 사격회화의 양면적 특성)

  • Yoo, Ka-Eun
    • The Journal of Art Theory & Practice
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    • no.6
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    • pp.77-99
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    • 2008
  • The purpose of this study is to show that the reason behind the ambivalent characteristic displayed in Niki de Saint Phalle's works is in her trauma and how such characteristic can be extracted from her works. During her creative years, Saint Phalle worked on various materials from different genres such as assemblages, shooting paintings, a series on Bride and Monster, 'Nana', 'Tarot Garden'and public sculptures. One commonality found among her various works is the ambivalent characteristic that contains contrasting elements simultaneously. Saint Phalle suffered a terrible psychological damage inflicted by her parents during her childhood. Specifically, she was sexually assaulted by her father and emotionally neglected by her mother, the trauma that affected her for the rest of her life. As a result, she came to develop extreme love- hate relationships with her parents and this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through various researches done on the subject of the affect of sexual assault. It is common for incest victims to develop ambivalent feelings towards the perpetrator and Saint Phalle was no exception. Dissociation disorder and a snake well explain the trauma from her father. It is a generally accepted belief in the field of psychology that dissociation disorder commonly occurs to children who experience incest. And dissociation disorder is similar to the characteristic of ambivalence in the sense that a single entity contains more than two contrasting elements at the same time. In addition, the amputated doll objects used in her assemblages coincide with the expression of body detachment of people with dissociation disorder. These facts clearly indicate that the trauma from her father is showing through in her works. A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle that resulted from her trauma. She remembers her father's rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, she displays a similar pattern of ambivalent emotion like love and hate or fear towards a snake and her father. This is also confirmed by her portrayal of a snake as a monster or reversely as a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother's maternal deprivation. It appears that Saint Phalle's mother possessed all the causes for maternal deprivation such as maternal separation, personality disorder and inappropriate attitude towards child rearing. Especially, a study that shows mother's negative attitude towards child breeding tends to increase dissociation experience of children is another important evidence that supports Saint Phalle's dissociation tendency. These traces of Saint Phalle's trauma are clearly revealed in her assemblages and shooting paintings. The violent objects in her assemblages such as a hammer, razor, nail represent the rage and defensiveness towards her father. The objects such as fragments of broken plates of feminine patterns, pots and mirrors that her mother used symbolize the affection towards her mother. On the other hand, the destructed objects can be interpreted as her hate and resentment towards her mother. Shooting paintings contain her extreme fury and hate. Things such as acts of shooting and the image associated with blood after shooting are blunt expressions of her bursts of emotions. I have tried to define and classify the ambivalent characteristics shown in her assemblages and shooting paintings as hate, rage, violence, calm, love and pleasure according to the frame of Thanatos and Eros. Out of the six, hate, rage, violence and clam are associated with Thanatos while love and pleasure are associated with Eros and they correspondingly form an ambivalent structure. These ambivalent characteristics can be found in her assemblages and shooting paintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage, violence and the silence felt throughout her works represent calmness. And, as mentioned, the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage, violence can be found in the use of force and in the traces of watercolor after shooting, and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shielded calmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle's works by examining her trauma to find its correlation, and a meaning of this study can be found from the fact that it refocused the origin of Saint Phalle who is generally known as a feminist artist. Additionally, a meaning of the study can be found also from the fact that it examined the ambivalent characteristics of her works through a frame of Thanatos and Eros.

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Study on the Korean Attitude and Perception toward Koslim (1.5 and 2nd generation Muslim immigrant of Korea): based on the survey research (코슬림(Koslim: 한국 이주 무슬림 2세)에 대한 한국인의 인식과 태도에 관한 연구: 대학생 설문조사를 중심으로)

  • Cho, Heesun;Kim, Daesung;Ahn, Jungkook;Oh, Chongjin;Kim, Hyojung;Yoo, Wangjong
    • Journal of International Area Studies (JIAS)
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    • v.14 no.1
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    • pp.277-308
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    • 2010
  • Since the globalization, many changes are occurring in our society. Multicultural phenonmenon in the society is becoming one of our major concern in the Korean society. Thus, this study is focusing on the multicultural phenomenon that we are facing since the globalization in Korea. No doubt that immigration is a growing force influencing the demographics of Korea. Since the mid-1990s, immigrant children and children from mixed marriage have become the fastest growing and the most extraordinarily diverse segment of Korea's child population. Until the recent past, Korea's major social attention has focused on adult immigrants to the neglect of their offspring, creating a profound gap between the strategic importance of the new second generation and the knowledge about its socioeconomic circumstances. In other words, there is a significant lack of studies on children of migrant, particularly from the Muslim background living in Korea. International marriage has grown rapidly in Korea since the late 1990s, and this phenomenon is especially common in rural farming communities. Most brides come from China, followed by Vietnam and other southeast Asian countries. However, there are certain number of Muslim bride coming to Korea. There are about 100 thousand muslim peoples living in Korean society. Among them 2.92% are Muslim immigrants' intermarriage with the Koreans. As a result, there are growing number of muslim brides and bridegroom settling in Korea, which would eventually create muslim families in growing korean multicultural societies. This study specify its research on the muslim mixed family by focusing on the offsprings of the muslim background. Our research team has created the new term on such research subject by using Koslim. Koslim is a 1.5 and 2nd generation from the Muslim back ground family living in Korea. Thus, the objective of this study is to examine the awareness and the perception of Koslim by the Korean mainstream people. By doing so, it can analyze the general attitude of Koreans towards the Koslim people. In this sense this study intends to play a groundwork to promote successful coexistence between Korean and Koslim. It is anticipated that this research can lay the basis for Koreans to have more open and tolerant attitude towards our new members of society that is increasing everyday.

Analysis of Clothing in a Painting Album of a 60th Wedding Anniversary Feast in the Collection of the National Museum of Korea (국립중앙박물관 소장 《회혼례도첩》 속 등장인물의 복식 고찰)

  • LEE Eunjoo
    • Korean Journal of Heritage: History & Science
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    • v.56 no.3
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    • pp.76-98
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    • 2023
  • The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.