• Journal of Science of Art and Design
• /
• v.6
• /
• pp.140-202
• /
• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• Sijohaknonchong
• /
• v.19 no.1
• /
• pp.179-205
• /
• 2003

The purpose of this study is about to consider the structure of dualistic recognition between "Gang-Ho"(ideal sanctuary) and real world in the "Songs of Fisherman" written by Lee Hyeon Bo. In order to do this job, I analized the arrangement of the contents and extract the exact in and outward meaning of elements and expressions; usage of them between lines of this Song. Based on these works, I tried to explain the confronted recognitions of the two worlds. At the first, about the arrangement and contents of this poem, It is consisted of 5 independent sub-poems and each of them are describing the value of fisherman's life(at the poem 가), separation from mundane world(나), satisfaction of fisherman's life(다), nature of "Gnag-Ho"(라), domiciliation in the place(마). It looks like that the writer intended to have the arrangement probability and likelihood connecting poems. Secondly, It contrast the nature of the "Gang-Ho" and real world. The sanctuary is a place of 'absence of worldly desire' and 'cordiality' that could afford one's harmonious life. On the other hand, the real world is a troublesome place which always conflicts political confrontations. For those reasons, the writer wants to satisfy with his living in "Gang-Ho" separating himself from the real world. Thirdly, The nature of "Gang-Ho" is 'absence of worldly desire' and 'cordiality' that one could be deserved his diligency becoming a part of the harmonious idealistic living place. Fourthly, on the character of story teller. Originally he is a incomer of "Gang-Ho" from real world. so that reason, he is showing dualism not to deny the loyalty oath to his king, while he intends to satisfy with the life in "Gang- Ho" separating himself from real world. As a gentry, at that time, the loyalty oath is inevitable one and that is found from writer's other works either. Fifthly, Characters of the different world recognition. The main reason of his intention to "Gang-Ho" roots on out of worldly confrontations, his separation from real world is on a joyous peaceful life just like in "Gang-Ho". this study believes the writer imply that 'absence of worldly desire' and 'cordiality' of "Gang-Ho", be a key role to resolve the confrontation of real world. Lee Hyeon Bo himself regards the two elements as a advisable attitude of life. At last, Seeing the writer's other work and literature's educational effect, this study defines that even if the poem outwardly express one's lyricism but inside it warns governors ruling attitude.

• Journal of Science of Art and Design
• /
• v.3
• /
• pp.87-144
• /
• 2001

This study looks into historical genealogy of autonomy in art criticism on modernism and presents the view of the judgment and correction about that. A matter of autonomy in art appeared in the attempt to totally reconsider and upset the theory of 'Mimesis' or 'Representation' which was the basis of traditional aesthetic theory. In the traditional theory of representation, they assumed primary image exists first and then tried to obtain visual similarity to it through art works. However, in the theory of autonomy in modernism, they maintained the reduction to pure form' or medium', regarding what art works represents and how similar to primary image are not the true essence of art. In the early 20th century, C. Bell laid the foundation stone of the theory of Formalism', providing that a matter of autonomy is significant form', which is the combination of lines and colors Aesthetic autonomy theory came to a climax by C. Greenberg, who systemized art criticism on modernism in the middle 20th century. According to his theory, the pursuit of the essence of form resulted in the specificity of medium' and flatness. They thought that the autonomy of art would be achieved by eliminating outward social factors from art works. This theory ended by Minimalism preventing the instructive function of art work and only emphasizing its material property. Since the middle 20th century, the autonomy theory was confronted with the limit and intense attack because it resulted in this fixed canon and materialism, so they began laying emphasis on those extrinsic factors around art works such as human life, society, history, and so on. This study focuses on arguing and complementing the limit of autonomy such as the adhesive and fixed canon, and then defining the more dynamic area of it. For this, first, I introduced the view of T. J. Clark and T. Crow who criticized the aesthetic autonomy theory. They denied the transcendental structure of form, and found form only in the association with substantial life and society. And they insisted the dynamism of form by emphasizing form as a result of negation insisted by avant-garde. Second, I researched the view of A. C, Danto and M. Fried, who complemented the traditional autonomy theory. They made autonomy emerge from the fixation of form like flatness through connecting essentialism with historical view. In conclusion, I insist that autonomic position of art make it possible to connect or mediate between material form and human or social elements. Therefore, autonomy should not be reduced to the axis of form or that of society but make interaction between two heterogeneous axes.

• Maxillofacial Plastic and Reconstructive Surgery
• /
• v.22 no.3
• /
• pp.319-329
• /
• 2000

Prediction of the soft tissue changes following hard tissue movement is very important from the esthetic view point for patients who have orthognathic surgery. There are many cephalometric analysis of facial bone and soft tissue on the lower lip and chin region but few soft tissue analysis on the midface after mandibular setback surgery. This study was performed to obtain whether the mandibular posterior movement has influence on the midface and the predictable ratio of post-operative measurement values of the soft tissue changes following mandibular setback surgery. Fifteen patients (8 males and 7 females) who had undergone mandibular setback surgery were selected and analyzed the soft tissue movement on the upper lip and the cheek region. Post-operative changes of the soft tissue measurements after mandibular surgery were examined on pre- and post-operative cephalometrics and the ratio of changes were analyzed after drawing the reference line on the face with the barium sulfate solution. The reference lines were perpendicular to the intercanthal line from infraorbital foramen and lateral canthus. The results obtained were as follows : 1. There were tendancy of anterior movement of soft tissue adjacent the nose after mandibular surgery 2. There were incerased tendancy of the amount of anterior movement from the nasal crease to the cheek region. 3. The amount of anterior movement of the soft tissue was larger below the palatal plane compared with above the palatal plane in the cheek region. 4. The upper lip length was increased and moved posterior direction after mandibular setback surgery 5. The lower lip was moved posterior direction by posterior movement of the mandibular structure 6. Soft tissue of the midface around the nose moved anterior direction after mandibular setback surgery but there was no correlation between the amount of mandibular setback and the amount of the soft tissue changes

• Journal of Korean Theatre Studies Association
• /
• no.40
• /
• pp.5-27
• /
• 2010

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. and are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of is very similar that of in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. is also a performance in the shaman ritual of east coasts. is more elaborate and recreational than of the west coasts. is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare with , still has more aspects of fertility ritual, while lost its ritualistic meaning and its main purpose is to develop dramatic needs. and are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
• /
• v.38 no.4
• /
• pp.231-239
• /
• 2012

Objectives: This study sought to provide guidelines in order to decrease the incidence of nerve injury during mandibular ramus bone harvesting, and to improve understanding of the anatomical structure of the inferior alveolar canal (IAC) to include its distance from the exterior buccal cortex. Materials and Methods: In January and February 2009, 20 patients who visited the Wonkwang University Department of Oral and Maxillofacial Surgery reporting various conditions underwent cone beam computed tomography and were included in this study. Patients with missing left or right mandibular first molars or incisors, or who had jaw fracture or bone pathologies, were excluded. The reference point (R point) was defined as the point where the occlusal plane reached the anterior ramus of the mandible. The position of the IAC in relation to the R point, the buccal bone width (BW), the alveolar crest distance (ACD), the distance from the alveolar crest to the occlusal plane (COD), and the distance from the IAC to the sagittal plane (CS) were determined using proprietary image analysis software which produced cross-sectional coronal and axial images. Results: The distance medially from the R point to the IAC along the axial plane was $6.19{\pm}1.21mm$. The HD from the R point, posteriorly to IAC, in the lateral view was $13.07{\pm}2.45mm$, the VD from the R point was $14.24{\pm}2.41mm$, and the ND from the R point was $10.12{\pm}1.76mm$. The pathway of the IAC was positioned almost in a straight line along a sagittal plane within $0.56{\pm}0.70mm$. The distance from the buccal bone surface to the IAC increased anteriorly from the R point. Conclusion: Marking osteotomy lines in the retromolar area in procedures involving bone harvesting should be discouraged due to the risk of damage to IAC structures. Our measurements indicated that the area from the R point in the ramus of the mandible to 10 mm anterior can be safely harvested for bone grafting purposes.

• Journal of the Korean Association of Geographic Information Studies
• /
• v.15 no.1
• /
• pp.159-171
• /
• 2012

This study has developed a technology for river basin including the management of the data related with riverbed and the analysis of the riverbed maintenance based on the high-resolution imagery data and LiDAR (Light Detection and Raging) in order to enhance the utilization of river management by using RIMGIS(River Information Management GIS) and to acquire the advanced operation for river management. Using the detailed river topographical map specially designed in the form of LiDAR or high-resolution images, riverbed data and river bank channel information that are dynamically changed were informationized and established in the RIMGIS DB. At this stage, a monitoring techniques that is established in the river management system associated with RIMGIS and minimized the impact of riverbed maintenance (fluctuations) has been studied. In addition, functions and data structure of RIMGIS containing the information of geography and management of the river have been supplemented to make an improvement of the real-time management of the river. Furthermore, a technology that is capable of supplementing RIMGIS has been developed, making it feasible to maintain the river in use of structural method including an structural scheme of cross-section of the river by providing the information of riverbed and cross-section of the river. This is considered to solve an issue of insufficient data on accuracy and based on a lack of information of the river based on the two-dimensional lines, making it feasible to (steadily) improve the function of RIMGIS and to operate management tasks. Therefore, it is highly expected to enhance aforementioned technology of the river information management as a great foundation that maximizes the utilization of the river management to support RIMGIS for the development of national river management data.

• 한국지구물리탐사학회:학술대회논문집
• /
• 2008.10a
• /
• pp.85-92
• /
• 2008

National Oceanographic Research Institute is carrying out an oceanographic survey for the entire sea areas around Korean Peninsula annually starting with the East Sea from 1996 by establishing a national oceanographic basic map survey plan for the sea areas under the jurisdiction of Korea, so this paper used the oceanographic geomagnetism data measured at the southern area of the Yellow Sea using 'Hae Yang 2000' in 1999, aiming at clarifying the cause of geomagnetic abnormality zone during the course of treating and analyzing the geomagnetic data. For treatment of magnetic data, we obtained electromagnetic force values and geomagnetic abnormality values around the investigated sea area through a process of searching and removal of bad data, correction of sensor positions, correction of magnetic field effects around the hull, correction of diurnal variation, normal correction, correction of cross point errors, etc. The electromagnetic force distribution around the investigated sea area was $49000\;{\sim}\;51600\;nT$, which is judged to be within the normal electromagnetic force intensity distribution range around the Yellow Sea. The isodynamic lines are distributed in Northeast-Southwest direction, and electromagnetic force values are increasing toward the northwest. The result of comparing the magnetic abnormality around the sea area among $124^{\circ}$ 49' 48" E, $35^{\circ}$ 10' 48" N $\sim$ $125^{\circ}$ 7' 48" E, and $35^{\circ}$ 33' 00" N sections with the elastic wave cross section and the result of modeling coincide well with the underground geological structure clarified from the existing elastic wave survey cross section. Therefore, it is judged that the distribution of magnetic force abnormality generally shows the effect pursuant to the distribution of the sedimentary basins in the Tertiary period and the bedrocks in the Cretaceous period which are well developed in the bottom of the sea.

• Journal of the Korean institute of surface engineering
• /
• v.53 no.4
• /
• pp.131-137
• /
• 2020

A series of Dy³⁺, Sm³⁺, and Dy³⁺/Sm³⁺ doped Gd₂WO₆ phosphors were synthesized by the conventional solid-state reaction. The X-ray diffraction patterns revealed that all of the diffraction peaks could be attributed to the monoclinic Gd₂WO₆ crystal structure, irrespective of the type and the concentration of activator ions. The photoluminescence (PL) excitation spectra of Dy³⁺-doped Gd₂WO₆ phosphors contained an intense charge transfer band centered at 302 nm in the range of 240-340 nm and two weak peaks at 351 and 386 nm. Under an excitation wavelength of 302 nm, the PL emission spectra consisted of two strong blue and yellow bands centered at 482 nm and 577 nm. The PL emission spectra of the Sm³⁺-doped Gd₂WO₆ phosphors had a series of three peaks centered at 568 nm, 613 nm, and 649 nm, corresponding to the ⁶G_5/2 → ⁶H_5/2, ⁶G_5/2 → ⁶H_9/2, and ⁶G_5/2 → ⁶H_11/2 transitions of Sm³⁺, respectively. The PL emission spectra of the Dy³⁺- and Sm³⁺-codoped Gd₂WO₆ phosphors showed the blue and yellow emission lines originating from the ⁴F_9/2 → ⁶H_15/2 and ⁴F_9/2 → ⁴H_13/2 transitions of Dy³⁺ and reddish-orange and red emission bands due to the ⁴G_5/2 → ⁶H_7/2 and ⁴G_5/2 → ⁶H_9/2 transitions of Sm³⁺. As the concentration of Sm³⁺ increased from 1 to 15 mol%, the intensities of two PL spectra emitted by the Dy³⁺ ions gradually decreased, while those of the three emission bands due to the Sm³⁺ ions slowly increased, thus producing the color change from white to orange. The CIE color coordinates of Gd₂WO₆:5 mol% Dy³⁺, 1 mol% Sm³⁺ phosphors were (0.406, 0.407), which was located in the warm white light region.

• The korean journal of orthodontics
• /
• v.28 no.4 s.69
• /
• pp.499-515
• /
• 1998

The purpose of this study was to examine the associations of head posture the position of the tongue or the hyoid bone to craniofacial structure. Cephalograms taken in Natural head position(NHP) of 90 dental students (50 in male, 40 in female, 20 to 30 years in age) were traced and measured using the extracranial true horizontal and vertical lines. The obtained results were as follows; 1. There was no sex difference in head posture, but the hyoid bone was placed anteroinferiorly in male more than in female and anteroinferior inclination of the hyoid bone showed greatly in male. 2. The more inclined was the cervical column, the less prognathic was the face in natural head posture, and the larger cervical curvature, the more vertical pattern of the face. 3. The less small showed craniocervical angulation, the more anteriorly placed was the hyoid bone to the cranial base, and there was no significantly association between craniocervical angulation and the vertical position of the hyoid bone. 4. The more prognathic was the mandible, the more anteriorly placed was the hyoid bone, and there was slightly association between the craniofacial morphology and the vertical position of the hyoid bone.