• Cross-Cultural Studies
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• v.36
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• pp.37-59
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• 2014

William Wordsworth's "The Thorn" revolves around the following questions: Who is Martha? Why does she go to the mountain top and repeat her doleful cry? To these questions, it gives us two different kinds of answers; one derives from the villagers, and the other from the narrator. This essay attempts to examine how the answers exemplify two different critical approaches to the problem of community, using Jacques Lacan's account of sexual difference in his seminar on Encore as a guiding thread of analysis. The important thing to retain here is that sexual difference in Lacan's seminar on Encore does not so much indicate biological determinations as two distinct forms of relating to the other which are intimately bound up with the question of how a community is constructed and maintained. The first form, called "masculine," suggests that it is a radical exception to a community that makes possible the community as a field of totality or sameness; the second form, called "feminine," shows that each of the subjects cannot be regarded as a member of a closed community which is guaranteed by the exceptionality, but as an exception that is radically singular. This in turn leads us to consider the possibility that the masculine form has to do with the villagers' effort to distinguish themselves from Martha and the feminine form with the way in which the narrator confronts and represents her. In the course of his formulation of sexuation graph, Lacan stresses that the masculine side must be supplemented by the feminine side, which allows us to elaborate on why, concerning Martha, the narrator does not just keep the completely different position from the villagers'. This is to say that the villagers' representation of Martha as an exception to the community should be supplemented by the narrator's attempt to tell Martha's story as the villagers do and at the same time to capture something of her enigmatic unrepresentability. Bearing in mind Charles Shepherdson's elaboration of traumatic memory, this essay also tries to clarify how the narrator preserves and even transmits something of Martha's truth that is embodied in her uncontrollable and unassimilable cry.

• Archives of Plastic Surgery
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• v.50 no.6
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• pp.593-600
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• 2023

Background Soft tissue reconstruction around the knee area is still an open question, particularly in persistent infections and multiple reoperations scenario. Flap coverage should guarantee jointmobility and protection, even when foreign materials are implanted. The chimeric harvesting of the musculocutaneous gastrocnemius flap, based on the sural artery perforators, can extend its applicability in soft tissue reconstruction of the upper leg, overcoming the drawbacks of the alternative pedicled flaps. Methods A multicenter retrospective study was conducted enrolling patients who underwent to a pedicled, chimeric gastrocnemius musculocutaneous-medial sural artery perforator (GM-MSAP) or lateral sural artery perforator (GM-LSAP) flap for knee coverage in total knee arthroplasty (TKA) recurrent infections and oncological or traumatic defects of the upper leg from 2018 to 2021. Outcomes evaluated were the successful soft tissue reconstruction and flap complications. Surgical timing, reconstruction planning, technique, and rehabilitation protocols were discussed. Results Twenty-one patients were included in the study. Nineteen GM-MSAPs and 2 GM-LSAPs were performed (soft tissue reconstruction in infected TKA [12], in infected hardware [4], and in oncological patients [5]). Donor site was closed primarily in 9 cases, whereas a skin graft was required in 12. Flap wound dehiscence (1), distal flap necrosis (1), distal necrosis of the skin paddle (1), and donor site infection (1) were the encountered complications. Flap reraise associated to implant exchange or extensive debridement was successful without requiring any further flap surgery. Conclusion The propeller-perforator GM-MSAP offers qualitative defect coverage and easiness of multiple flap reraise due to skin availability and its laxity.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Journal of Preventive Medicine and Public Health
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• v.15 no.1
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• pp.57-73
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• 1982

Questionaires on symptoms of respiratory disease have been used in Korea to elicit the probable health effects of air pollution in epidemiologic studies: The objectives of such studies often include comparing prevalence of symptoms of respiratory system between different population groups or between the same population groups, at different times. Unfortunately, little attention has, been paid to standardization of those questionaires, whether those are Korean. versions or not. Furthermore, no attempt to develop Korean ,questionaire on respiratory symptoms and relevant information has been made. Followed by 'a comparative study on responses to Korean version questionaires(English origin) of CMI, MRC, and ATS-DLD-78' two types of questionaires on respiratory symptoms and relevant information for Korean adult, which are short form (SUN-81-AS) and long forms (optional questions are added to the short one, SUN-81-AL), have been designed suitable to Korean background by authors (see Annex). The self-administered and closed-question questionaire were tested their validity and reliability by administration to l80 normal adults (medical and nursing students) and 60 clinical patients of Seoul National University Hospital, with spirometric exam. The results obtained and conclusions drawn are as follow: 1. It took less than 10 minutes to complete the questionaire SNU-81-AS and SNU-81-AL. 2. The test-retest reliability of each questions in AS and AL ,were observed as 92.7% and 92.1%, respectively. And all of the level of agreement are statistically significant with kappa statistic. 3. In addition to higher prevalence rate of symptoms in patients group compared, with, normal. group, the correlations between FEV 1.0/FVC predictive value(%) and number of symptoms were statistically significant inpatients group (See Fig. 1 and, Table 7). 4. The answer rate to optional questions in AL form among those who are not to do was about 10%, while the no-answer rate among who are to do was about 15% in Normal (medical and nursing students) group. 5. From the viewpoints of validity and reliability, the new Korean questionaire (SNU-81-AS and AL) developed by authors are to be recommendable to use in epidemiologic studies on respiratory illness in Korea. The self-administration, however, of optional questions in AL form may not assure the quality of data gathered.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.108-126
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• 2023

This study explored the sustainability of a blockchain-based cultural art performance video platform through the construction of Gyeonggi Art On, a new media art broadcasting station in Gyeonggi-do. In addition, the technical limitations of video content transaction using block chain, legal and institutional issues, and the protection of personal information and intellectual property rights were reviewed. As for the research method, participatory observation methods such as in-depth interviews with developers and operators and participation in meetings were conducted. The researcher participated in and observed the entire development process, including designing and developing blockchain nodes, smart contracts, APIs, UI/UX, and testing interworking between blockchain and content distribution services. Research Question 1: The results of the study on 'Which technology model is suitable for a blockchain-based performance video content distribution public platform?' are as follows. 1) The blockchain type suitable for the public platform for distribution of art performance video contents based on the blockchain is the private type that can be intervened only when the blockchain manager directly invites it. 2) In public platforms such as Gyeonggi ArtOn, among the copyright management model, which is an art based on NFT issuance, and the BC token and cloud-based content distribution model, the model that provides content to external demand organizations through API and uses K-token for fee settlement is suitable. 3) For public platform initial services such as Gyeonggi ArtOn, a closed blockchain that provides services only to users who have been granted the right to use content is suitable. Research question 2: What legal and institutional problems should be reviewed when operating a blockchain-based performance video distribution public platform? The results of the study are as follows. 1) Blockchain-based smart contracts have a party eligibility problem due to the nature of blockchain technology in which the identities of transaction parties may not be revealed. 2) When a security incident occurs in the block chain, it is difficult to recover the loss because it is unclear how to compensate or remedy the user's loss. 3) The concept of default cannot be applied to smart contracts, and even if the obligations under the smart contract have already been fulfilled, the possibility of incomplete performance must be reviewed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• The Korean Journal of Archival Studies
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• no.6
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• pp.225-262
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• 2002

Chief Consultant Archives Government Archives & Records Service -table of contents- 1. Introduction 2. Relationship of Historical Studies and Archive 3. Relationship of Archives and Archives 4. Conclusion; Historians, Archives, and Archivists, and Their Roles This essay is mainly written for historians who may have "little or limited experience" in dealing with archives and archivists in their course of historical research. It may sound very ridiculous to say that "historians have little or limited experience" in using archives but it is also true that many Korean historians have depended on various compiled editions of historical materials or personally donated and/or collected materials when they do research, rather than they would visit archives and search for the materials by themselves. This is the main reason for that the public archives in Korea have not served historians well and effectively, and vice versa, that historians have not visited archives sometime with no knowledge of archives, and have not requested opening of archives for their research. It is a simple fact that historian's study depends on the records he/she uses. Without records, there should be no history. Use of archives for historical research is a common thing and a must in modern archives. Records are selected to be preserved in archives for their preservation as well as their future use. Who select the records as archives? Archivists do mostly. Then, what are the criteria for the archivists to chose records as permanent preservable archives? Answers to this fundamental question have been provided by many historians and archivists. The closest answer may be that selecting archivists would be better trained and equipped with historical research and knowledgeable of the major trends in historical research. With his/her own experience of historical research and tracing the trends of historical studies and materials used in the historiography, they could chose better and appropriate records for future use using their prudence and discretion. It also means that historians have had influence on archivists in their selecting archives by providing the theme and context of historical studies of the time. Though not necessarily becoming a historian themselves, selecting or appraising archivists should understand the process of creating the records and should know how they become archives. This is a precondition to become a good archivist. But that's not all. They must know how the archives are used and what archives are used for what purposes. Among many other roles of modern archivists, selecting and describing the archives are the foremost tasks of an archivist. Archivists therefore developed modern methods to select future archives based on functional analysis and records series concept rather than a record file or item as a unit of selection. Historians are users or consumers of the archives held in the archives building or repository. The quality of their study depends on the "quality" of the materials they use. With the help of archivists not to mention of reference service, historians owe much to archivists in having an access to the materials they need, intellectually and physically. Too many closed archives and too long closed archives in the archives repository would benefit neither historians nor archivists. However, archivists can mostly react only to archive requests and demands made by historians for more wide accessibility. Using the FOIA, as in the U.S., or the Information Opening Act, as in case of Korea, historians can promote the use of historical materials as well as promoting accountability and transparence for the benefit to society as whole. In this context, it is vary desirable to establish a close professional relationship between historians and archivists even in the age of information society. At present, historians need more understanding of operation and importance of archives while archives administration need to realize the potential archival demands from research community and civil movement for clean government.

• Journal of Korean Library and Information Science Society
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• v.5
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• pp.119-168
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• 1978

This is a survey of the reserved book system in the pilot universities in Korea. We have surveyed only 22 university libraries among 29 pilot schools as of 1977, because of the differences in the library users, library organization, library facilities, and library materials between universities and colleges. In 1972, the Korean Ministry of Education developed a reformation plan for their higher education based on the teaching method of curriculum-oriented faculty instead of that of the faculty-oriented curriculum. The former puts emphasis on the cultivation of a student's thinking, creativity, and judgement through self-teaching to do a given assignment. The reserved book system in a college or university library is one of the most important methods necessary to accomplish the above educational aim. The survey used a questionnaire with 50 question on 28 items concerning the various aspects of the reserved book system in 22 pilot universities. the survey result discovered many problems needing correction. The following list describes the measures needed to correct the problems found in the pilot universities. 1. The management of a centralized reserved book system is much more effective and economical than the decentralized reserved book system when a university is located on the same campus. 2. In the university library, an independent reserved book department requires to gain the desired educational aims as compared with the reserved book room controlled by any other department in the library. 3. The reserved book system should not be adopted by all the departments at once but enlarged gradually, for it needs the understanding and support of faculty members and the university itself. 4. As competence is essential to the effective operation of the reserved book room, the university library should not place an unqualified person in charge of the reserved book department. 5. The librarian in charge of the reserved book department is required to do more professional works such as analysis of users, collection and analysis of syllabuses, maintenance of faculty member cooperation, establishment of measures to acquire unavailable materials, and drawing up an effective management plan. However, he is spending most of his time in clerical works, that is, non-professional works. 6. Three to five titles of each reserved book are considered reasonable and required materials should be shelved in proportion to the number of students, that is, one copy per eight or ten students if the materials are allowed to lend for two hours at a time. For the supplementary materials, the library needs to place two or three copies per subject. 7. Professors must select reserved books with care so that they can be used year after year. 8. Few universities are asking professors the number of class students and the date when the reserved material will no longer be needed on reserve. 9. The library should gather all the lists of reserved books from every professor at least three to five months before the courses open, because it takes a long time to obtain foreign materials. 10. It is desirable that the reserved book department should collect the lists and prepare the materials with promptness and consistency. 11. Instead of block buying, it is desirable to purchase reserved books at the time the library gets the reserved book list from the professors. The library should also inform faculty members whether it obtained each reserved book or not before the course open. 12. The library should make a copy of materials if a professor requires to reserve an out-of-print book or partial contents of a book, journal, and thesis. 13. An independent budger for reserved books from the budget for general materials is desired. 14. The shelf arrangement of reserved books by courses or professors under the same department is much more preferable than a classified arrangement. 15. While most of the universities adopted the open shelves system for all the reserved books, it is more effective and economical to take a compromise system, that is, closed shelves for requires materials and open shelves for supplementary materials. 18. Circulation of reserved books needs a different system between required materials and supplementary materials: two or three hours and/or overnight loan for the former and two and/or three days loan for the latter. 17. A reserved book room should be open a long time after class so that students can have sufficient time to use the room. 18. The library must take daily and monthly statistic as well as statistics on every aspect of the reserved book system in order that the library ma decide on policy and management of the reserved book room in collaboration with the university. Furthermore, regular reports on the use of the reserved book room should be made to the president and the executive council by the library to acquire their understanding and cooperation for the reserved book system. 19. Cooperation of faculty members is indispensable to the effective management of the reserved book department and it is desirable to make a committee which will fix various decisions about the system. Whenever the director of the library make his decision, he must consult with his staff in order to involve them earnestly in the operation of the system.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.