• 미술이론과 현장
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• 제7호
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• 복식
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• 제66권1호
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• pp.42-57
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• 2016

The Tibetan people are an ethnic group that is native to Tibet who have adapted to the region's harsh climate and environment, and developed their own culture. Religion played a central role in maintaining its traditional culture and society in the history. The objective of this study is to understand Tibetan costume and religion, and examine patterns that appear on the costume to study their religious symbolism. The significance of this study lies in explaining the symbolisms of the patterns that appear on the costume in terms of cultural maintenance and change. Based on literature review, I summarized the data about Tibet's environment, history and religion, and divided the residential district into three: ${\ddot{U}}$-Tsang, Amdo, Khamba. Then, I organized each region's characteristics and clothes, and studied Tibetan Buddhism (Vajrayana) costumes and features of the patterns that appear on the costumes. Through combining these data, I would like to examine the religious symbolism of the costume pattern of Tibet. Buddhism is at the heart of cultural and social maintenance and change in Tibet, and the patterns shown in the costume is influenced mostly from Buddhism. The features of general Tibetan costume vary with the region and life style, but the patterns that appear on the costume are used over a wide area to represent good luck and the spread of Buddhist teachings. The costumes for religious rites vary with religious sects, but most of the patterns are commonly used. The symbolism of pattern is a form of figure that represents the human psyche and physical world. The symbolism of pattern implies meanings such as compensation or futuristic wish. First, the lucky omen normally means long life, happiness and peace, and means religious salvation in Buddhist perspective. Second, warding off evil spirits normally means avoiding misfortune, and means dignity and self-protection, and protection of Buddhadharma in Buddhist perspective.

• 패션비즈니스
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• 제15권4호
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• Archives of Reconstructive Microsurgery
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• 제22권1호
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• pp.33-37
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• 2013

Purpose: The concept and development of perforator free flaps have led to significant advances in microsurgery. Ongoing developments in perforator free flap surgery are aimed at reducing complications and improving surgical outcomes. The aim of this study was to evaluate the effectiveness and application of supermicrosurgery in free flap surgery. Materials and Methods: A total of 267 patients with soft tissue defects of the lower extremity due to various etiologies from January, 2007 to January, 2013. The patients received either an anterolateral thigh free flap (n=83), a superficial circumflex iliac artery free flap (n=152), an upper medial thigh free flap (n=19), or a superior gluteal artery perforator free flap (n=13). Microanastomosis was performed using a perforator-to-perforator technique, either end-to-end or end-to-side. Results: The mean postoperative follow up period was eight months (range: one to 16 months) and flap loss occurred in 11 cases out of 267. All cases of flap loss occurred within two weeks of surgery due to either arterial insufficiency (n=5) or venous congestion (n=6). Conclusion: Supermicrosurgery enables the selection of the most efficient perforator for microanastomosis at the defect site. It also reduces the time required for dissection of recipient vessels, and reduces the possibility of injury to major vessels. Microsurgery using a vessel of less than 1 mm has been reported to increase the risk of flap failure; however, using the most advanced surgical tools and developing experience in the technique can produce success rates similar to those found in the literature.

• 산학경영연구
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• 제14권
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• pp.129-148
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• 2001

이 논문은 소비자의 심리묘사적변수(psychographic variables)들로 구성된 LOV(list of values)를 조사하고, 이 LOV를 이용한 소비자들의 가치체계(value system)를 세분화하는 것을 목적으로 한다. 접근방법으로서는 Rokeach의 RVS, Kahle의 LOV, 그리고 Razzaque의 Asian Values를 참고하고, 한국적 가치를 추가한 모형을 개발하여, 한국 소비자들의 가치세분화를 진행하였다. 연구결과 LOV를 이용한 우리나라 소비자들의 가치체계(value system)는 (1)영향력에 관한 가치, (2)배금성에 관한 가치, (3)최신성에 관한 가치, (4)모험성에 관한 가치, (5)구원에 관한 가치, (6)사회성에 관한 가치, (7)호기심에 관한 가치, (8)영적 성향에 관한 가치, (9)보수성과 관련된 가치의 순서로 구분이 되었다. 이는 우리나라 소비자들의 가치중심의 시장세분화에 참고자료가 될 것으로 믿는다. 이상의 한국적 가치영역과 인구통계적 변수와의 관계를 분석해 본 결과 성별, 결혼관계, 학력수준, 직업, 가족월총수입, 가족구성형태, 연령 등 전반적 인구통계적 변수와 긴밀한 관계가 있는 것으로 나타났다.

• 지역사회간호학회지
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• 제14권3호
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• pp.445-456
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• 2003

Purpose: This study attempted to propose the basic framework for spiritual nursing intervention by understanding live spiritual experiences of terminal cancer patients. The study duration was from July 2002 to January 2003, and the subjects of this study were patients who were expected to live less than six months. The number of subjects was six and the average time of each interview was about an hour. Method: The data were analyzed using the method of phenomenological study analysis, which Colaizzi (1978) proposed. Result: Through live spiritual experiences. terminal cancer patients showed complex emotion about the Absolute, human, disease, and death: depended on the Absolute through recognizing death and spiritual acknowledgement: recollected the past life: accepted death believing salvation and immortality: recovered relationships with others through forgiving and reconciling with the Absolute and neighbors. Also, they pursued the meaning of pain. death, and life while feeling pain: demanded love and concern to the Absolute and neighbors: had a sense of futility about life and a hope for the future life: transcendental energy towards the world after death. Wishing to have a peaceful end to life. they felt peaceful and comfortable. Conclusion: Terminal cancer patients want to meet a peaceful end to life with a hope for the future and accept the meaning of death with peace and comfort minds(##-minds), which will allow them to carry on peaceful and satisfactory days for the rest of their lives. Thus, it is very important for caregivers to let them have spiritual experiences and care for them.

• 한국학교보건학회지
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• 제24권1호
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• pp.71-80
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• 2011

Purpose: This study was conducted to compare the level of depressive symptom, spiritual well-being and faith maturity between college freshmen and seniors and to investigate the affecting factors on their depressive symptom. Methods: The study was cross-sectional descriptive survey. A self-report questionnaire were used to collect data from 335 college students during June to July, 2010. Data were analyzed by ${\chi}^2$-test, t-test, ANOVA, Scheffe's test, pearson correlation coefficient, and stepwise multiple regression using the SPSS/WIN 14.0 program. Results: The mean score of depressive symptom was $17.55{\pm}11.24$ and prevalence of depression was 26.5% in college freshmen. And those in college seniors were $14.18{\pm}14.17$ and 17.4%. And those were significantly higher in college freshmen than in seniors. The depressive symptom was a significant negative correlation with spiritual well-being, existential spiritual well-being, religious spiritual well-being, and faith maturity. Factors significantly influencing on depression in college freshmen included existential spiritual well-being, subjective health status, age, and confidence of salvation ($R^2$=49.7%). And those in college seniors included existential spiritual well-being and life satisfaction ($R^2$=53.3%). Conclusion: The counseling program and spirituality development program for preventing depression considering these affecting factors for especially college freshmen are necessary.

• 한국연극학
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• 제49호
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• 식품보건융합연구
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• 제5권2호
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• pp.13-25
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• 2019

This study was aimed at ascertaining the level of knowledge of the health effects of cigarette smoking on health and wellbeing among adults. A cross-sectional form of descriptive survey research design was used for this study. Two hundred and seventy copies of the questionnaire collected were analyzed using descriptive statistic of frequency count, normative percentage and grand mean; as well as inferential statistics of chi-square (${\chi}^2$). The level of significant was fixed at 0.05. Appropriate degrees of freedom were worked out. The influence of gender on the knowledge of the negative effect of cigarette smoking among adults in sokoto. The results shows that 48% agreed on the negative effects of showing among male followed by 29.3% among female, those who undecided 8.8% male and 4.4% females while those who disagree are 6.2% for male and 2.5% for female. The research concluded that the knowledge of negative effect of cigarette smoking among adults in sokoto metropolis was very good across the different variable (marital status, gender, and year in higher institution) with single, male and first year in higher institution showing significantly good knowledge of the negative effect of cigarette smoking.

• 동양고전연구
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• 제73호
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• pp.327-360
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• 2018

유교 지식인 류성룡과 정치가 류성룡은 서로 분리될 수 없는 동전의 양면이다. 유교 지식인의 학문은 경국제세(經國濟世)의 실천을 지향하고, 역사의 선례와 현장에 대한 치밀한 연구는 정치가의 성패를 좌우한다. 류성룡이 위기에 처한 조선의 실질적인 구원자가 될 수 있었던 것도 그가 이론과 현장을 구분하지 않고 양자를 변증법적으로 종합했기 때문이다. 그러나 류성룡에 관한 기존의 연구들은 이러한 점들에 주목하지 않았다. 이 글에서는 먼저 류성룡이 주자 성리학에 안주하지 않고 양명학에 깊은 관심을 갖고 있었다는 점에서 출발하고자 한다. 그리고 이를 통해서 그가 정통 주자학자들과는 다른 실용주의적 경세관을 지니고 있었고, 그 결과 임진왜란이라는 사상 초유의 국란을 맞았을 때도 현실주의적 위기 대처 능력을 발휘할 수 있었다는 점을 강조하고자 한다. 요컨대 이 글은 학문과 실천의 균형을 추구한 류성룡의 삶을 실용주의와 현실주의라는 관점에서 재조명하고자 한다.