• The Journal of Korean Society for Radiation Therapy
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• v.31 no.1
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• pp.75-81
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• 2019

Purpose: Helmet type bolus for 3D printer is being manufactured because of the disadvantages of Bolus materials when photon beam is used for the treatment of scalp malignancy. However, PLA, which is a used material, has a higher density than a tissue equivalent material and inconveniences occur when the patient wears PLA. In this study, we try to treat malignant scalp tumors by using M3 wax helmet with 3D printer. Methods and materials: For the modeling of the helmet type M3 wax, the head phantom was photographed by CT, which was acquired with a DICOM file. The part for helmet on the scalp was made with Helmet contour. The M3 Wax helmet was made by dissolving paraffin wax, mixing magnesium oxide and calcium carbonate, solidifying it in a PLA 3D helmet, and then eliminated PLA 3D Helmet of the surface. The treatment plan was based on Intensity-Modulated Radiation Therapy (IMRT) of 10 Portals, and the therapeutic dose was 200 cGy, using Analytical Anisotropic Algorithm (AAA) of Eclipse. Then, the dose was verified by using EBT3 film and Mosfet (Metal Oxide Semiconductor Field Effect Transistor: USA), and the IMRT plan was measured 3 times in 3 parts by reproducing the phantom of the head human model under the same condition with the CT simulation room. Results: The Hounsfield unit (HU) of the bolus measured by CT was $52{\pm}37.1$. The dose of TPS was 186.6 cGy, 193.2 cGy and 190.6 cGy at the M3 Wax bolus measurement points of A, B and C, and the dose measured three times at Mostet was $179.66{\pm}2.62cGy$, $184.33{\pm}1.24cGy$ and $195.33{\pm}1.69cGy$. And the error rates were -3.71 %, -4.59 %, and 2.48 %. The dose measured with EBT3 film was $182.00{\pm}1.63cGy$, $193.66{\pm}2.05cGy$ and $196{\pm}2.16cGy$. The error rates were -2.46 %, 0.23 % and 2.83 %. Conclusions: The thickness of the M3 wax bolus was 2 cm, which could help the treatment plan to be established by easily lowering the dose of the brain part. The maximum error rate of the scalp surface dose was measured within 5 % and generally within 3 %, even in the A, B, C measurements of dosimeters of EBT3 film and Mosfet in the treatment dose verification. The making period of M3 wax bolus is shorter, cheaper than that of 3D printer, can be reused and is very useful for the treatment of scalp malignancies as human tissue equivalent material. Therefore, we think that the use of casting type M3 wax bolus, which will complement the making period and cost of high capacity Bolus and Compensator in 3D printer, will increase later.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.102-142
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• 2023

The Bronze Bell of Wongaksa Temple, also known as the Bosingak Bell, was produced in 1468 during the reign of King Sejo for dedication at Wongaksa Temple in the middle of the capital Hanyang in celebration of the tenth anniversary of his accession to the throne. It is currently heavily damaged and cannot be struck. This paper focuses on the man-made damage inflicted on the Bosingak Bell and explores when, why, and by whom the bell was damaged along with the historical significance of this damage. In the first section, the relevant literature is reviewed and the problems concerned, research perspective, and methodology are presented. The history of related theories is investigated focusing on the relationship between Bosingak Bell and Wongaksa Bell. The perspective that Bosingak Bell and Wongaksa Bell are the same is introduced. My discussion will be developed from this perspective. In the second section, the background to King Sejo's construction of Wongaksa Bell is examined. Specifically, the bells commissioned by the kings of the early Joseon era are divided into court bells (jojong) and Buddhist bells (beomjong). They total four court bells and three Buddhist bells. The former are the Jongnu Tower Bell commissioned by King Taejo, Donhwamun Gate Bell by King Taejong, Gwanghwamun Gate Bell by King Sejong, and Sajeongjeon Hall Bell by King Sejo. The latter are the bells of Yongmunsa, Heungcheonsa (or Jeongneungsa) and Wongaksa Temples, all of which were made during the reign of King Sejo. Sejo also made Wongaksa Bell and gave it the meaning that the monarch and the Buddha both wish to enlighten the people through the sound of the bells. In the third section, traces of the man-made damage done to Bosingak Bell are closely examined. By observing the current condition of Bosingak Bell and comparing it with the contemporaneous Heungcheongsa Bell (1462) and Bongseonsa Bell (1469), the components of Bosingak Bell that were damaged can be identified. The damaged parts are again divided into Buddhist elements and non-Buddhist elements. The former includes the reversed lotus petals on the shoulder band, four standing bodhisattvas, and the inscription of the bell composed by Choe Hang. The latter includes lists of chief supervisors (dojejo). I describe the phenomenon of deliberately damaging Buddhist elements on bells as "effacement of Buddhism," meaning Buddhist images and inscriptions are eliminated, and I note the prevailing rejection of Buddhism theory among Neo-Confucianists as its ideological root. The erasure of non-Buddhist images was probably caused by political conflicts such as Yeonsangun's purge in 1504. Since both ideological and political factors played a role in the changes made to Bosingak Bell, the damage was possibly done between the Purge of 1504 and the abdication of Yeonsangun in 1506. Chapter four traces the transformation of the Buddhist bell of Wongaksa Temple into the Bosingak court bell. Finally completed in 1468, the Wongaksa Bell only served its role as a Buddhist bell at related services for a relatively brief period of 36 years (until 1504). Wongaksa Temple was closed down and the bell lost its Buddhist function. In 1536, it was moved from Wongaksa Temple to Namdaemun Gate, where it remained silent for the next 90 years until it was struck again in November 1594. However, after the destruction of the Jongnu Bell in a fire during the Japanese Invasions of Korea (1592-1598), the Buddhist bell from Wongaksa Temple became a court bell. The Wongaksa Temple bell was relocated to Jongnu Tower in 1619, traveling through Myeongdong Pass. From then on, as the official Jongnu Bell (later renamed Bosingak Bell), it was regularly rung at dawn and dusk every day for nearly 300 years until 1908, when Japanese authorities halted the ritual. The transformation of the Wongaksa Bell (a Buddhist bell) to Bosingak Bell (a court bell) means that the voice of the Buddha was changed to the voice of the king. The concept of "effacement of Buddhism," evident in the transformation of Wongaksa Bell to Bosingak Bell, was practiced widely on almost every manifestation of Buddhism throughout the Joseon period. In short, the damage evident in Bosingak Bell underscores the debuddhismization in Korean society during the Joseon Dynasty.

• Journal of Preventive Medicine and Public Health
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• v.3 no.1
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• pp.1-16
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• 1970

The present status of control measures for public health important helminthic infections in Korea was surveyed in 1969 and the following results were obtained. The activities of parasitic examination and Ascaris treatment for the positives which were done during 1966 to 1969 were brought in poor result and could not decrease the infection rate. It is needed to improve or strengthen the activities. The mass treatment activities for paragonimiasis and clonorchiasis in the areas which were designated by the Ministry of Health were carried out during 1965 to 1968 with no good results in decrease of estimated number of the patients. There were too many pharmaceutical companies where many kinds of anthelmintics were produced. It may be better to reduce the number of anthelmintics produced and control the quality. The human feces, the most important source of helminthic infections, was generally not treated in sanitary ways because of the poor sewerage system and no sewage treatment plant in urban areas and insanitary latrines in rural areas. The field soils of 170 specimens were collected from 34 areas out of 55 urban and tourist areas where night soil has been prohibited by a regulation to be used as a fertilizer, and examined for parasites contamination with the result of Ascaris egg detection in 44%. Some kinds of vegetables of 64 specimens each from the supply agents of parasite free vegetables and general markets were collected and examined for parasites contamination with the results of Ascaris egg detection in 25% and 36% respectively. The parasite control activities and the ability of parasitological examination techniques in the health centers of the country were not satisfactory. The budget of the Ministry of Health for the parasite control was very poor. The actual expenditure needed for cellophane thick smear technique was 8 Won per a specimen. As a principle the control of helminthic infections might be led toward breaking the chain of events in the life cycle of the prasites and eliminating environmental and host factors concerned with the infections, and the following methods nay be pointed out. 1) Mass treatment might be done to eliminate human reservoirs of an infection. 2) Animal reservoirs which are related with human infections night be eliminated. 3) The excretes of reservoirs, particularly human feces, should be treated in sanitary ways by the means of sanitary sewerage system and sewage treatment plant in urban areas and sanitary latrines such as waterborne latrine, aqua privy and pit latrine in rural areas. The increase of national economical development and prohibition of the habit of using night soils as a fertilizer might be very important factors to achieve the purpose. 4) The control of vehicles and intermediate hosts might be done by the means of prohibition of soil contamination with parasites, food sanitation, insect control and snail control. 5) The improvement of insanitary attitudes and bad habits which are related with parasitic infections night be done by the means of prohibition of habit of using night soils as a fertilizer, and improving eating habits and personal hygiene. 6) Chemoprophylactic measure and vaccination may be effective to prevent the infections or the development of a parasite to adult in the bodies when the bodies were invaded by parasites. Further studies and development of this kind of measures are needed.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.