• Archives of Pharmacal Research
• /
• v.19 no.5
• /
• pp.429-431
• /
• 1996

A new cycloartane glycoside (1) was isolated from the aerial part of Thalictrum uchiyamai Nakai (Ranunculaceae). On the basis of chemical and physicochemical evidence, the aglycone structure of this compound was characterized as 116, 25-dihydroxy-3, 24-diacetoxy-9, 19-cycloartane-29-oic acid, a new derivative of cycloartane triterpene. Also the oli-gosaccharide moiety of this glycoside were determined as 29-O-${alpha}$-L-rhanmnopyranosyl- ($1rightarrow2$)-[${beta}$-D-xylofuranosyl-($1rightarrow6$)-${beta}$-D-glucopyranose by application of HMBC technoque. Consequently, the structure of compound 1 was elucidated as 29-O-${alpha}$-L-rhanmnopyranosy-($1rightarrow2$)-[${beta}$-D-xylofuranosyl-($1rightarrow6$)-${beta}$-D-glucopyranosyl-16, 25-dihydroxy-3, 24-diacetoxy-9, 19-cycloartane-29-oic acid ester.

• Cross-Cultural Studies
• /
• v.35
• /
• pp.59-78
• /
• 2014

This article is written on the ground that one of the major characteristics of Chinese New Period women's novels is about family dissolution and calling and it is examined based on analysis of "The Bathing Woman" by Tie Ning. In "The Bathing Woman", the family seems 'Regular' externally but it is actually fragmented internally. The author offers patriarchal perspective on 'Family' from the eyes of daughter of the family. The problems are classified into three categories. First, it is the problem of exclusiveness embedded in the essential characteristic of family represented by blood relation. Second, it is the research on the reason for family dissolution. Tie Ning finds the reason at 'Unmotherly mother, that is the lack of maternal instinct. Third, it is the expectation of the restoration of dissolved family. Tie Ning's indication of 'Family' is equal to 'Mother' and 'Mother' is the source and power that can heal and restore the dissolved family in her novel. It is expansion of maternal instinct represented by protection and caring into 'Practical action' and it is meaningful in a way that it expands the principle of maternal instinct and sublimates it into universal morality. However, it should not be overlooked that it could be another moral system that could suppress the females in other ways.

• The Korean Nurse
• /
• v.13 no.5 s.73
• /
• pp.73-74
• /
• 1974

• Journal of the Korean Society of Costume
• /
• v.25
• /
• pp.5-20
• /
• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• Journal of Medicine and Life Science
• /
• v.19 no.3
• /
• pp.121-124
• /
• 2022

This case report describes a case of isolated (not associated with other anomalies) lower vaginal hypoplasia complicated by megalourethra (urethral dilatation) due to frequent urethral sexual intercourse in a regularly menstruating (hypomenorrheic) woman. The patient was a 24-year-old woman who underwent transperineal ultrasonography as well as magnetic resonance imaging followed by sequential cystoscopic and vaginoscopic examinations. Finally, a pull-through procedure was used to create a new vagina. The main outcome measure was patent vagina formation. The procedure successfully corrected isolated lower vaginal hypoplasia. The postoperative course was smooth, with the restoration of regular intercourse in the correct location. It was concluded that all gynecologists should have increased awareness of rare female genital anomalies to avoid serious sequelae, particularly in newly married patients.

• The Journal of the Korea Contents Association
• /
• v.20 no.3
• /
• pp.275-285
• /
• 2020

The purpose of this study is to explore the Iranian Woman Film Director Samira Makhmalbaf and her cinema world. Samira represents Iranian Islamic social problem base on her woman identity, and She is a symbolic director who is working Iranian new wave at the 21th. She has directed five movies as (1998), (2000), (2002), (2003), (2008). For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Iranian film history. In terms of esthetics, she tends to combinate between metaphor and reality, And, In thematic consciousness, consistently describes Islamic women's lives and liberty, anti-war and peace, sympathy for the under-privileged, etc. She inherits the tradition of Iranian third wave 'Children Cinema', and simultaneously tries to overcome Iranian art film tradition. Director Samira Makhmalbaf is a symbol of progress and change in Iranian film history, and is opening the new future of Iranian film.

• Journal of Families and Better Life
• /
• v.22 no.3
• /
• pp.75-93
• /
• 2004

This study examined discourses on “wise-mother and good-wife” in the 1920s - 1930s by analyzing the magazine “Shinyeosung.” This study found the following: 1 “Wise-mother and good-wife” was the ideal type for the “new women” during the colonial period. Hut the role of a mother was far more important than that of a wife. 2. The dominant discourse at the time was that the “genuine” new woman was defined by her motherhood, and she could not have a job because raising children was the most Important task for her. Hut in fact, new women wanted to be a wife through free love and marriage. They wished to be a good-wife in the “new (modern) family” for their loving husbands. 3. The Ideas of “wise-mother” and “good-wife” arose from disparate backgrounds. A woman had to nurture her maternal aptitudes; but had to suppress her passion for free love and marriage. Although she had to learn Western methods of bringing up children instead of the traditional one, she was expected to practice traditional virtues of a wife, not Western attitudes. The role of a mother was decided by experts, but that of a wife was decided by husbands. The function of a good-wife was merely a clever handling of her husband, whereas the function of a mother was considered to require professional knowledge. 4. New women could differentiate themselves from “old women” through the roles of wise-mother and good-wife; nonetheless, those roles were forced by society. They did not have any other viable choices.

• Journal of Agricultural Extension & Community Development
• /
• v.28 no.1
• /
• pp.25-39
• /
• 2021

This study aims to identify the causation effect between technostress and utilization of Internet information and meditation effect of information service acceptability between technostress and Internet information utilization. The data were collected from 503 woman farmers aged 20 to 65 across the country. The analysis performed a three-stage mediated regression of Bron, & Kenny (1986), using the SPSS 21.0 statistical package. The importance of accepting information services has been identified in the Sobel test. According to the analysis of the medium effect on information service acceptability, information service acceptability has a partial medium effect on the technological stress of woman farmers and the level of Internet information utilization. In order to lower the technology of woman farmers in the future, it is necessary to find ways to improve new perceptions of information technology and increase acceptability of information services.

• Journal of the Korean Society of Costume
• /
• v.59 no.5
• /
• pp.115-134
• /
• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• Korean Journal of Environmental Agriculture
• /
• v.7 no.1
• /
• pp.65-73
• /
• 1988