• The Journal of Korean Academic Society of Nursing Education
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• v.4 no.2
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• pp.131-146
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• 1998

The study was attempted and executed to reach the following conclusions. The period was May 1st through June 15th, 1998 and the subjects were 302 teachers consisting of School Nurses and general teachers in Pusan city. 1) The degrees of recognition of sexual roles by the subjects were compared as follows : The average point as to the recognition of sexual roles in the occupational functions by the school nurses was 2.41, higher than that of the general teachers. The average points as to the recognition of sexual roles in the attitudes by the school nurses was 2.28, higher than that of the general teachers. The average points as to the recognition of sexual roles in the abilitis was 2.26, higher than that of the general teachers. These ascertain that school nurses recognize the man has higher superities in the occupational functions, the attitudes and the abilities than the woman. 2) The degrees of demand of sexual education by the subjects were compared as follows : As to the degrees of demand of sexual education, the school nurses showed higher demand than the general teachers in the concepts such as 'the society and sexualities, physiology and actual education'. 3) The levels of the consciousness of sexual education by the subjects were compared as follows : the general teachers showed the more strict attitudes than the school nurses against the lascivious sex objects and wanted the punishment against the related students and the general teachers have myth. They claimed that their family have no relation with the sexual violence or pornography. As to the masturbation, the general teachers showed the more conservative attitudes. 4) The opinions by the subjects as to the well-qualified person in charge of sexual education in school were compared as follows : 77.3% of the school nurses, and 36.1% of the general teachers supported the school nurses.

• Journal of the Korean housing association
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• v.22 no.3
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• pp.59-71
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• 2011

The purpose of this study is to investigate the basic historical characteristics and its modern trend of Torajan traditional housing architecture in Sulawesi Province, Indonesia. The Toraja culture belongs to the cosmological culture with Cosmos centric characteristics. A traditional house, being called 'tongkonan' in Toraja region, is more than just a structure, representing the symbol of family identity and tradition. The Torajan architecture is a combination of the myth and cosmos, also regional conditions. With a short description of the general conditions and spiritual values of the Toraja, this paper explains the space-composition, the stylistic characteristics, the ornamental elements, construction, and its modern trend, etc. In general, it is raised on stilts several metres high, with a dramatically boat-shaped roof. Village layout varies according to size. The houses are arranged in a row, side by side, with their front gables facing north. Each house stands opposite its own rice-barn. The houses with their oblong ground-plans, built on piles set on stones. The interior is divided into three or four rooms, having few window. The houses are embellished with carving and paintings, and the facades display engraved and painted geometric and figural designs. The most frequent motif is the buffalo head, ranging from the realistic to the highly stylized. The Torajan traditional housing have experienced radical changes during the Modern period. In spite of the popularity of new modern house-styles, the traditional architectural style is often now constructed as an icon of Toraja identity. This paper will be helpful for understanding regional diversity of the traditional housing in Southeast Asia.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.2
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• pp.837-840
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• 2015

Background: The disclosure of a diagnosis of cancer is complex, particularly in older patients. The aim of this study was to investigate the association between age and not knowing the diagnosis, and its impact on mood. Materials and Methods: The study included 70 patients with various types of solid and hematologic cancer in early stages, which were followed up in an outpatient oncology/hematology clinic in Turkey between January, 2014 and June, 2014. Initially the caregivers of patients were asked whether the patients knew their diagnosis or not. A questionnaire for the Geriatric Depression Scale was then administered to the patients. Patient age, gender, marital status and education level were noted and analyzed with respect to knowing the diagnosis and depression. Results: Of the 70 patients, 40% of them were female. The mean age was $68.2{\pm}8.9$. The rate of the patients who does not know their diagnosis was 37.1% (n=26). The overall depression rate with GDS was found 37.1% (n=26) among the participants. There was no association with knowing the diagnosis (p=0.208) although the association between not knowing the diagnosis and age was significant (p=0.01). Conclusions: In this study we revealed no association between not knowing the diagnosis and depression in elderly patients. Contrary to what some has thought, the patient is not protected from psychological distress by not being informed about the diagnosis. We believe this study and similar ones will help to discuss and further explore patient autonomy, the principle of respect to self-determination and end of life issues in different cultures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.90-98
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• 2011

This study aims to discuss the characteristics of garden architecture in Italian Renaissance Villa Lante that was constructed by the cardinal in Bagnaia at 16th century through actual survey and analysis of the garden's elements. To do this, it was studied in two ways: Analysis of the present conditions and review historical documents. The results are as follows. First, the buildings, the gardens and the surrounding landscapes are visually connected each other in relations between the topography and the surrounding landscapes. Second, the spatial composition accepted Neoplatonic law of multiple proportions and was influenced by ancient myth and "Liber ruralium commodorum" of Pietro de Crescenzi(1305). Third, the garden's elements consist of plants, buildings and items. In plants, the upper plants are fir tree, cypress and pine tree and the lower plants are english holly, box tree and sweet oleander. The buildings are casino, loggia and terrace. The items are pot, sundial, chair, viewing platform and fountain. The result of this study, the political and social, technical phenomena which constitute construction pattern affected the locational property and the spatial organization of the neighbor on Villa Lante.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.361-368
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• 2018

This study analyzes movie by individualiztion theory of JUNG. It is about the mother and the boy who killed the family and a lot of people based on the original novel of the same name. Movies based on maternal love express the maternal sublime devoted to their children, or act as a genre film that introduces maternity even against social myth or ethics. It expresses the desire of a woman to clash with maternity and raises questions about maternal ideology.The maternal ideology was a modern product had fixed sex role in industrialized societies.As a resukt, maternal love is identified with femininity unlike paternal love. Women are emphasized to be responsible for raising safe social members beyond individual responsibility. The movie develop story about crime that occurred in motherson relationship which lacks attachment formation in fostering process. This is not a recuurence of the maternal ideology of mother who miscarried child because she lacked motherhood. Mother Eva projected a conflict that is between maternal ideology and her desire on motheson relationship.Son Kevin also experiences a projection that influenced his persona through his mother. In this paper, I analyze through JUNG's individualization theory that The characters face their projected ego and realize self-fulfillment by searching of their own life goal out of external role or ideal.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 2019

The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.