• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.935-946
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• 2008

Religion is the symbolic form and action, linking the ultimate condition of life with human beings. Religious idea grasps the world through symbols and gives birth to the action through symbols. This research put its purpose in elucidating the effect of religion on the costume and its mechanism. It's focus is centered on Buddhism, Hinduism, and Islam which are among the world high religions. Part of this research also examines the mechanism in which several composing factors are expressed with rituals and manifested with costumes, this process was diagrammatized and suggested. The composing factors of religion such as belief system, experiences, community, and rituals are closely related. Ritual especially, is the symbolic action, practice, and the way of rescue, expressing religious meaning. Religious rituals such as imitative rituals, positive or negative rituals, sacrificial ritual, and rites of passage have been expressed with religious music or figurative art such as costume, construction, and art as well as religious ritual like ancestral rites. Religion has had a great effect on the overall culture including costume as a belief system by lightening the meaning of life and suggesting the solutions to the human problems such as anxiety or conflict.

• Journal of Sericultural and Entomological Science
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• v.52 no.2
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• pp.117-122
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• 2014

On previous studies, we constructed a transgenic silkworm which produces the chimeric silk fused green fluorescent protein (EGFP), but the transgenic silkworm has decreased commercial feasible traits such as convenience of breeding and productivity of silk. In this study, we performed cross fertilization between green fluorescent silk transgenic silkworm and colored cocoon silkworm descents to make the transgenic the transgenic silkworm producing improved fluorescence cocoon. In the result, we found out a bit valuable cross fertilization manners ($female{\times}male$) in respect of silk productivity such as $T59B{\times}Jam26$, $Jam329{\times}T59W$, $T59W{\times}Jam329$, and $T59W{\times}Jam178$. The color-difference of offspring cocoons were measured according to different cross manners using by CIE Lab-based formulae with a X-rite VS450. In the result, the depth of green color of cocoons was a little high at cross manners as $Jam329{\times}T59W$, $T59W{\times}Jam178$. Meanwhile, the depth of yellow clolor of cocoons was remarkable at cross manners as $Jam178{\times}T59W$, $T59W{\times}Jam178$, respectively.

• Journal of the Korean Society of Radiology
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• v.4 no.1
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• pp.25-30
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• 2010

The objective of this study was to compare the resolution and density appropriate to diagnosis in chest PA radiography. In comparing the resolution, we radiographed with conventional radiography, computed radiography(CR) and digital radiography(DR) using the linear resolution phantom(Nuclear Associates-Carle Place. N.Y.). 2 radiologists and 3 radiological technologists read the resolution value by the blind test. DR, conventional radiography and CR measured 3.95, 3.58, 3.48 resolution value respectively. In analysing the density, we chose the fifty normal chest CR and DR and conventional film. We estimated the density using by densitometer(X-rite company-Model 301) in seven regions(lung field, lung field margine, mediastinum I, mediastinum II, heart shadow I, heart shadow II, diaphragm) of chest film. We adapted to analysis the Japanese chest X-ray evaluating method and table. It was scored 0(farthest density value) to 2(nearest density value). DR scored 2 at mediastinum I, mediastinum II, heart shadow I, heart shadow II and diaphragm. On the contrary with, CR scored 2 at lung field and lung field margine. Consequently, DR superior than CR and conventional radiography film compairing density and resolution. It was due to small pixel size and post processing algorithm with digital radiography.

• Journal of Life Science
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• v.12 no.3
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• pp.274-280
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• 2002

The metabolites related to phenylpropanoid pathway play an important role in the self-defense of plants and induced by environmental stress like wounding, pathogen attack, UV-irradiation and so on. The mRNA level of rite phenylalanine ammonia lyase (PAL) was increased at 12 h to 48 h, however it was gradually decreased 48 h to 60 h after UV irradiation. The PAL enzyme activities in rice were peaked at the time of 24 h after UV irradiation, on the other hand, it was not affected by wounding. The PAL enzyme activities in pepper were raised high at 24 h and 10 h by UV irradiation and wounding respectively. The cinnamic acid 4-hydroxylase (C4H) activities were increased by wounding treatment and were detected from 12 h to end time point of experiment, while UV-irradiation didn't affect the C4H activity in rice and pepper. These results were assumed that the action of isoflavonid has an alternative effect on the defenses which include wounding and UV irradiation and on the diverse roles in rice and hot pepper.

• Restorative Dentistry and Endodontics
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• v.23 no.1
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• pp.357-365
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• 1998

목적: 치과용 수복재료의 방사선 불투과성은 매우 다양하다. 따라서 다양한 수복재료의 방사선 불투과성을 인지하여 치질과 비교하면 이차우식의 진단에 도움이 될 수 있다. 도재의 방사선 불투과성에 따라 적절한 luting cement의 선택이 가농해진다. 수복재료의 방사선 불투과성은 알루미늄 step wedge 의 후경과 방사선 불투과성과의 상관관계 의해 측정된다. 본 연구의 목적은 CAD/CAM용 도재와 이틀의 접착에 쓰이는 접착재료의 방사선 불투과성을 조사해 적절한 재료의 선택과 이차우식 진단의 효율결정에 도움이 되게 하는데 있다. 방법: 본 실험에서는 CAD/CAM용 도재인 Vita MarkII, Dicor MGC와 이의 접착에 사용되는 Z-100, 그리고 luting cement인 Duo cement, Scotchbond resin cement를 사용해 방사선 불투과성을 측정하였다. 시편 제작을 위해 도재를 저속절단기로 두께 2mm, 3mm로 절단하였으며 Z-100과 cement시편은 두께 2mm와 3mm, 직경 7.0mm의 금속 주형을 제작한 후 재료를 양쪽 면에 유리판을 대고 조임쇠로 압접하였으며 광조사기를 사용하여 각 재료마다 두 가지 두께로 10개씩 100개의 시편을 제작하였다. 치질의 시편을 얻기 위해 교정 목적으로 최근에 발거된 정상적인 상악 소구치를 저속 절단기를 사용하여 협설측 교두정을 기준 삼아 2mm, 3mm 두께로 절단하였으며 방사선 불투과성의 기준을 위해 12개의 step으로 구성된 12mm두께의 aluminum step wedge를 사용하였다. Kodak E-Speed occlusal film에 aluminum step wedge와 시편들을 위치시킨 후 70kVp, 7mA, 2.16mm aluminum filtration으로 고정된 dental X-ray unit을 사용하여 target과 film 사이의 거리는 25cm, 노출시간은 0.2초로 하여 방사선 촬영을 한 다음, 현상된 방사선 사진상에 나타난 방사선 불투과성을 X-rite 301 densitometer를 이용하여 측정한 값들의 평균을 냈다. 얻어진 결과는 one-way ANOVA Duncan test(P<0.01)로 검증하였다. 결론: 1. Dicor MGC의 방사선 불투과성은 법랑질보다 약간 높게 나타났다.(P<0.01) 2. Vita Mark Il는 상아질보다 낮은 방사선 불투과성을 보였다.(P<0.01) 3. Z-100과 Luting cement들의 방사선 불투과성은 법랑질보다 높았다. Duo cement가 방사선 불투과성이 가장 높았고 그 다음이 Z-100, 그리고 Scotchbond resin cement 순이었다. 4. Z-100과 2종류의 방사선 불투과성 luting cement들은 Vita Mark II 와 같이 사용하면 2차우식 진단에 도움이 된다.

• (The)Study of the Eastern Classic
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• no.43
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• pp.125-154
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• 2011

Today's digital culture has been realized through various media, and even now, is changing and growing. If the previous digital culture was actualized through technologies such as the Internet, mobile devices etc., today it includes even things that give new life to contents using various medialike this. The moment this digital technical aspect is grafted into culture, a new genre called 'Cultural Contents' is born. Such cultural contents can be seen as a way for classics to approach people in a digital world that is evolving fast like today. To make classics into a cultural content, its basic narrative structure is important. Classics contain the history at the time, the awareness of people who lived at the time and the detailed rite of passage people experienced. This point can be interpreted as classics not just a cultural heritage of the previous era, but having the functionality that can form a consensus of modern people. This thesis views our classic novels of Mongcha group such as 'Guwunmong' and 'Okrubong' as a potential subject of cultural contents, and the problem of how it can be made into a cultural content. To make a cultural content, storytelling is very important. Therefore, the structure and characteristics of novels of Mongcha group was examined, and a synopsis was made based on this. Furthermore, it examined if there are novels of Mongcha group made into contents, and how each work was vitalized and how much ripple effect it had achieved. If each work did not achieve a second or third ripple effect, it examined what the problem was and tried to offer a solution.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.21-34
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• 2022

This study attempted to identify the life and death reproduced in literary works and present well-aging and well-dying using literary studies that considered Korean literature. Literary works such as poems, novels, and plays recorded between the 13th and 20th centuries covered in 10 literary studies in this study were investigated and analyzed. The survey methods include general and outline sections, literary genre sections, period sections, and keyword review. As a result of the analysis, most of the literature studies corresponded to details including author theory. They were concentrated on the novel and poem, and mainly dealt with 20th century literary works. In addition, the relationship between death, life patterns, well-dying, and well-aging inherent in literary works was identified. It was the concept of a whole set and a subset. In conclusion, this study has a limitation in studying literary works at a specific period. Nevertheless, we examined the nature of well-aging in life as a hope to secure a prospect from Korean literature. And this study recognized the nature of well-dying in death and meaningful death as a rite of passage derived from Korean literature. In the future, it is expected to contribute to the realization of well-dying, well-aging, and application of convergence research in Korean society in the 21st century.

• Korean Journal of Culture and Arts Education Studies
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• v.9 no.3
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• pp.45-61
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• 2014

Recently, there is a discussion about culture theory in the area of traffic safety regulation. It has the view that the subject of criticism, etc. by drivers' regulation interpretation, awareness about the danger of regulation violation and nonacceptance of regulation can be changed according to the way drivers' cultural bias was formed. According to the culture theory, fundamental views of the world in particular social relations surrounding individuals, world view or cosmology, are formed and the world view makes an effect on individual behavior and attitude. In this context, cultural cognition and cultural learning theory which are suggested in Christoph Wulf's study on historical-cultural anthropology provide new approach toward this phenomenon. According to his insistence, core mechanisms which can explain cultural cognition and cultural learning are systematized by five things; physical characteristic, mimesis, performance theory, rite and image. The purpose of this research is to investigate the changes by the way Korean people cognize traffic regulations culturally and experiences of traffic regulation violation through the analytic frame of Christoph Wulf's five core mechanisms. To achieve it, cognition of traffic culture was analyzed by analytical phenomenology for drivers who had been educated due to their violation of traffic regulations. Value, lifestyle and practicing methods which are pursued by people work in sociocultural context rather than are influenced by cognitive structure of individuals.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.