• 임상이비인후과
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• 제29권2호
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• pp.235-239
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• 2018

Due to the structure with one end closed, the external ear resonance effect in which the high frequency is amplified can be generated, and the sound can be perceived well. The external ear resonance normally has a first peak and a second peak. On average, the first peak has a gain of 18.6 dB at 2620 Hz and the second peak has a gain of 18.2 dB at 4210 Hz. The resonance of the external auditory canal changes with the state of the tympanic membrane, the presence of the ventilation tube, and the structure (length, diameter, shape) of the external auditory canal. A patient with a postauricular meatomastoid cutaneous fistula was admitted to the hospital with a foreign body which is the molding of the hearing aid. After removal of the foreign body, the resonance of the external auditory canal was lost and the subjective sound cognitive ability decreased. In the case of postauricular meatomastoid cutaneous fistula, we confirmed the improvement of sound cognitive ability, the change of pure tone hearing threshold, and the change of the external ear resonance after reconstruction of the ear canal without middle ear reconstruction.

• Nutrition Research and Practice
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• 제10권6호
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• pp.597-605
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• 2016

BACKGROUND/OBJECTIVES: Childhood obesity has increased in recent decades in Korea. This study was designed to examine differences in the eating habits, physical activity (PA), nutrition knowledge, and self-efficacy of children by obesity status. SUBJECTS/METHODS: Subjects were 5th-grade children from 70 elementary schools in 17 cities nationwide. Two-stage stratified cluster sampling was employed. Survey questionnaire included items related to general characteristics, eating habits, PA, nutrition knowledge and self-efficacy. Excluding incomplete responses, 3,531 data were analyzed using SPSS. Subjects were categorized into overweight obesity (OW) and normal weight (NW) groups based on body mass index percentiles for age by sex. RESULTS: A total of 21.5% of subjects was overweight or obese. There were significant differences in gender, perceived stress, perception of body shape, body satisfaction, and interest in weight control between the OW and NW groups (P < 0.001). With respect to eating habits, the OW group ate breakfast (P < 0.05) and snacks (P < 0.01) less frequently, ate bigger meals (P < 0.001), and demonstrated less desirable behaviors during meals (P < 0.05 in boys) compared to the NW group. The OW group participated in less PA than the NW group, especially boys. OW boys spent less time walking during weekdays (P < 0.05) or the weekend (P < 0.001), spent more time being sedentary during weekdays or the weekend (P < 0.001), and exercised a fewer number of days (P < 0.01). For girls, the OW group spent more time being sedentary during the weekend (P < 0.01) and exercised a fewer number of days by walking or bicycle riding (P < 0.05) than the NW group. Nutrition knowledge was not significantly different between the OW and NW groups. Self-efficacy (P < 0.01 in boys), especially PA self-efficacy (P < 0.01), was significantly lower in the OW than NW group. CONCLUSIONS: This study revealed differences in eating habits, PA, and self-efficacy between OW and NW children. Obesity management programs for children need to focus on increasing self-efficacy, modifying eating habits, and increasing PA.

• 한국식생활문화학회지
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• 제25권4호
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• pp.366-377
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• 2010

We surveyed 553 middle school students living in Incheon using questionnaires to compare their food behaviors and snack intake patterns according to weight groups based on BMI. Mean BMI was 20.3 for males and 19.6 for females. The rate of underweight, normalweight and overweight students was 33.3, 51.7, and 15.0%, respectively. Compared to the other two groups, the overweight students perceived their body shape more accurately (p<0.01). Regarding the reasons for skipping dinner, the most frequent answer by the underweight students was 'because of snacks', while that of the overweight students was 'to lose weight' (p<0.01). The normalweight students were found to eat a Korean traditional type breakfast more frequently than the other weight groups (p<0.05). The overweight female group was more likely to overeathabitually, whereas the normalweight and underweight groups tended to overeat when they were under stress (p<0.05). As for the amount of the snack intake, the overweight male students replied that they eat quite a lot of snacks. As a conclusion, the problems found in the underweight group were unbalanced diet and the disturbance of regular meal patterns due to inappropriate snack intake. The problems shown in the overweight group were overeating due to habit or stress, fast eating speed and large amount of snack intake.

• 복식문화연구
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• 제13권6호통권59호
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• 한국조경학회지
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• 제34권2호
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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.

• 한국산학기술학회논문지
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• 제15권5호
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• pp.2996-3006
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• 2014

본 연구는 대학생들의 개인적 특성, 가정생활, 학교생활 및 건강관련행위 특성에 따른 자아존중감, 사회적지지 및 우울수준을 파악하고, 특히 자아 존중감 및 사회적지지와 우울과의 관련성을 규명하고자 실시하였다. 조사대상은 대전 충청지역에 소재하고 있는 4년제 대학에 재학 중인 남녀 대학생 471명으로 하였으며, 자료 수집은 2013년 4월 23일부터 약 2주에 걸쳐 표준화된 자기기입식 설문지를 사용하여 수집하였다. 연구결과, 조사대상자들의 자아존중감과 사회적지지에 따른 우울 수준은 자아존중감이 낮을수록(p=0.000), 사회적지지가 낮을수록(p=0.000) 우울수준이 유의하게 높았다. 조사대상자들의 자아존중감과 사회적지지는 우울수준과 유의한 음의 상관관계를 보였으며, 사회적 지지와 자아존중감은 유의한 양의 상관관계를 보였다. 위계적 다중회귀분석 결과, 조사대상자들의 우울수준에 영향을 미치는 요인으로는 성별, 연령, 체형에 대한 스트레스 유무, 주관적인 경제 상태, 공부시간, 자아존중감 및 사회적지지가 유의한 요인으로 지적되었으며 이들의 설명력은 23.8%이었다. 위와 같은 결과는 조사대상 대학생들의 우울수준은 자아존중감 및 사회적 지지와 유의한 관련성이 있음을 시사하고 있으며, 특히 우울수준은 사회적지지에 의해 더 큰 영향을 받고 있음을 알 수 있다.

• 한국응용과학기술학회지
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• 제38권2호
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• pp.465-475
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• 2021

본 연구는 안면 마스크 착용에 따른 피부 스트레스 인식도와 뷰티 케어 현황조사를 목적으로 2021년 3월 11일-3월 27일 까지 210명을 대상으로 온라인과 오프라인을 이용하여 설문조사를 실시하였다. 수집된 자료는 SPSS 25.0을 이용하여 Cronbach's α, Frequency Analysis, chi-square test, One way Anova로 분석하였다. 코로나19 기간 중 일일 평균 마스크 착용 시간은 43.8%가 7시간 이상이며, 마스크 착용에 의한 피부 스트레스 인식도는 30대(M=4.27)와 서비스직(M=4.64)이 가장 높고 여드름, 피부 트러블(M=4.47) 고민이 있는 사람이 스트레스를 높게 인식하였다. 홈 케어 시 중요 요소는 클렌징(67.6%)이, 뷰티 케어 현황에서는 피부 관리(36.7%)가 가장 높았다. 뷰티 케어 선택 시 고려 사항은 서비스 및 고객관리 능력이 54.3%, 체형관리를 위한 방법은 운동이 45.7%로 가장 높게 나타났다. 본 연구 결과 안면 마스크의 장시간 사용으로 인해 피부 스트레스가 많이 인식되고 있으며 코로나 상황에 의해 피부 관리실 이용이 불안해짐에 따라 홈 케어 관리가 늘어난 것으로 나타났다.

• 마케팅과학연구
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• 제20권3호
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• pp.231-238
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• 2010

本研究的焦点是品牌的拟人化. 品牌拟人化被定义为将品牌看作是人类. 具体来说, 本研究的目标是理解如何将品牌拟人化的方法. 通过分析消费者对食品包装上的故事的阅读, 我们试图展示行销者和消费者如何将一系列品牌拟人化并创造意义. 我们的研究问题是一个品牌对不同的消费者具有多个或单一意义, 联想, 个性的可能性. 我们首先强调了本研究在理论和实践方面的重要性, 解释了为什么我们关注作为品牌意义传递工具的包装. 然后我们阐述了我们量性研究方法, 讨论了结果. 最后总结了管理方面的启示和对未来研究的建议. 本研究先让消费者直接阅读品牌意义传递的工具然后让这些消费者口头自由表达他们所感受到的意义. 具体来说, 为了获得有关感知意义的数据, 我们要求参与者去阅读选择的品牌食品包装上的非营养的故事. 包装在消费者研究方面还没有得到足够的关注(Hine, 1995). 直到现在, 研究还是仅关注包装的实用功能并形成了探索营养信息的影响的研究主体. (例如Lourei ro, McCluskey and Mittelhammer, 2002; Mazis and Raymond, 1997; Nayga, Lipinski and Savur, 1998; Wansik, 2003). 一个例外是最近的研究, 将注意力转向非营养信息的包装说明, 并视其为文化产品和将品牌神话的工具(Kniazeva and Belk, 2007). 下一步就是探索这些神话活动如何影响品牌个性感知以及这些感知如何与消费者相关. 这些都是本研究所要强调的. 我们用深度访谈来帮助消除量性研究的局限性. 我们的便利样本的构成具有人口统计和消费心态学的多样化以达到获得消费者对包装故事的不同的感知. 我们的参与者是美国的中产居民, 并没有表现出Thompson(2004)所描述的 "文化创造者" 的极端生活方式. 九名参与者被采访关于他们食品消费偏好和行为的问题. 他们被要求看看12个展示的食品产品包装并阅读包装上的文字信息. 之后, 我们继续进行关注消费者对阅读材料的解释的问题. (Scott and Batra, 2003). 平均来看, 每个参与者感知4-5个包装. 我们的深度访谈是一对一的并长达半个小时. 采访内容被录音下来并转录, 最后有140页的文字. 产品赖在位于美国西海岸的当地食品杂货店, 这些产品代表了食品产品类别的基本范围, 包括零食, 罐装食品, 麦片, 婴儿食品和茶. 我们使用Strauss和Corbin (1998)提出的发展扎根理论的步骤来分析数据. 结果表明, 我们的研究不支持先前的研究所假设的一个品牌/一个个性的概念. 因此我们展示了在消费者看来多个品牌个性可以在同一品牌身上很好的共存, 尽管行销者试图创造更多单一的品牌个性. 我们延伸了Fournier's (1998) 的假设, 某人的人生计划可以形成与品牌关系的强度和本质. 我们发现这些人生计划也影响感知的品牌拟人化和意义. Fournier提出了把消费者人生主题(Mick和Buhl, 1992)和拟人化产品的相关作用联系在一起的概念框架. 我们发现消费者人生计划形成了把品牌拟人化和品牌与消费者现有的关注相关联的方式. 我们通过参与者发现了两种品牌拟人化的方法. 第一种, 品牌个性通过感知的人口统计, 消费心态学和社会个性所创造. 第二, 第二, 在我们的研究还涉及到品牌的消费者所存在的问题与消费者的个性被混合, 以连接到他们(品牌为朋友, 家庭成员, 隔壁邻居)或远离自己的品牌个性和疏远他们(品牌作为二手车推销员, "一群高管".) 通过关注食品产品包装, 我们阐明了非常具体的, 被广泛使用, 但很少深入研究的营销传播工具: 品牌故事. 近期的研究已经视包装为神话制造者. 对行销者来说要创作出和产品及消费它们的消费者相连的文字故事的挑战越来越大, 并建议 "为创造需求的消费者神话的构成材料的多样化是后现代消费者可论证的需求"(Kniazeva和Belk, 2007). 作为叙述故事的的工具, 食品包装可以食品包装可以用理性和感性的方式, 为消费者提供无论是 "讲座" 或 "戏剧"(Randazzo, 2006), 神话(Kniazeva and Belk, 2007; Holt, 2004; Thompson, 2004), 或意义(McCracken, 2005) 作为他们拟人化产品的构成材料. 孕育工艺品牌个性掌握在作家/营销人员手中, 在读者/消费者心目中. 这些消费者会赋予品牌有意义的脸谱.

• 한국전통조경학회지
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• 제30권4호
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• pp.44-55
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• 2012

본 연구는 국내 서원 중 성리학적 사유와 규범에 가장 충일(充溢)하다고 알려진 도동서원을 대상으로 인간 중심의 성리학적 우주관의 핵심인 중용의 조형 미학적 특성이 서원의 경관짜임에 어떻게 투영되고 있는 가를 풀이하고자 하였다. 건축적 완성도와는 다른 관점에서, 도동서원의 경관상을 지배하고 있는 형식미와 내용미를 터잡기 길내기 건물놓기 시선모으기 담두르기 이름붙이기 꾸미기 등 총 7개의 경관짜임 항목을 기준으로 도동서원 조형에 담긴 중용의 미를 탐구한 결과는 다음과 같다. 외형적 짜임의 일부로서 도동서원의 좌향은 자연으로서의 방위를 인간 본위의 방위로서 중화(中和)시킴으로써, 인간과 자연의 일체감을 통한 중용지도(中庸之道)의 경지에 이르고자 하는 경관짜임 의지에서 비롯된 것으로 보인다. 도동서원의 외적 질서와 규범을 규정짓는 핵심적 요소로는 위계성과 좌우대칭을 바탕으로 한 계층성의 원리로 이는 어느 한쪽으로도 치우치지 않는 중용(中庸)의 정신이 관통함으로써 형성된 건물놓기와 길내기의 결합을 통한 경관짜임의 결과이다. 또한 담장두루기로 영역성을 확보하고 수직과 수평적 일체감을 이룸으로써 중용에 이르고자 한 경관짜임 또한 표출되고 있다. 그리고 서원의 중심 강당 마루에서 지각되는 수월루와 환주문의 지붕 중첩, 중정당 기둥에 의한 프레임에 의한 시각틀 형성 등을 통해 시각적 균형성과 개폐성을 유도하는 수법은 성리학적 조영 특유의 관념성을 드러내는 시선모으기의 경관짜임이다. 한편, 내용적 경관짜임의 일부로서 전신(前身)인 쌍계서원의 당호를 따른 관념적 이름붙이기, 성리학적 도(道)의 이동을 상징하는 서원명, 어느 한쪽으로도 치우치지 않는 중정(中正), 오륜에 근거한 거인재와 거의재 등의 건물 당호(堂號) 또한 중용의 미학을 준용한 결과이다. 그리고 중정당의 기단에 표현된 일음일양(一陰一陽) 변화를 나타내는 서화(瑞花)와 오르고 내리는 세호(細虎), 그리고 네 마리의 용으로 이루어진 사물 등은 지나침과 모자람이 없는 음양의 조화를 상징하는 중용의 예술적 표현이다. 이렇듯 도동서원은 좌우대칭과 계층화를 우선으로 한 상징 및 중용의 성리학적 질서와 규범의 정신으로 꽉 짜인 조직(組織)의 산물임이 확인된다. 그러나 도동서원이 엄정한 성리학적 세계관을 구현한 조형의 결과임은 분명하지만, 성리학적적 규범과 예법에만 충실했다면 그 평가는 그리 높지 않을 것이다. 도동서원 모든 영역에 고르게 배치된 해학적이고 독특한 석물과 돌조각 장식은 엄정해질 대로 엄정해진 서원 이미지와 외적 질서를 상쇄(相殺)시켜 '탈 엄정(脫 嚴整)'을 도모하기 위한 장치로써, 이는 또 다른 차원의 경관짜임이자 중용적 표현이라는 것은 매우 역설적이기까지 하다.