• Title/Summary/Keyword: subject position

Search Result 782, Processing Time 0.026 seconds

Case Study of Ancient City Wall Renewal in Gongju, a Historic Cultural City (역사문화도시 공주의 고도담장정비 사례 연구)

  • Ohn, Hyoungkeun
    • Korean Journal of Heritage: History & Science
    • /
    • v.53 no.2
    • /
    • pp.254-269
    • /
    • 2020
  • The purpose of this study is to propose guidance for wall renewal that is appropriate for an ancient city wall through application of advanced research and theories in wall design. It is a streetscape improvement project which forms part of the "Ancient City Image Finding Project". Study methods consist of advanced research classification, wall design theory contemplation, and analysis of the significance of designated ancient city areas and the "Ancient City Image Finding Project" status. Based on these methods, case study candidates were selected, case status and problems were identified, and improvement proposals were analyzed by comparing various features. Advanced wall research was classified into six categories including analysis of wall characteristics; wall design principle applications; wall structure, color, shape, and application; modern reinterpretation; palace walls; and house, temple, and village walls. The wall is an element of the streetscape improvement component of the "Ancient City Image Finding Project", with the characteristic of providing preceding experience in visual and cognitive awareness than interior structure. Case candidates for ancient city wall improvement are based on the composition distribution of the special conservation district in each ancient city as well as the conservation promotion district. Ultimately, the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil, adjacent to the Royal Tomb of King Muryeong, was selected as the candidate. The "Ancient City Image Finding Project" of the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil began with new Hanok construction. However, wall maintenance did not begin concurrently with that new Hanok construction. Support and maintenance took place afterwards as an exterior maintenance project for roadside structures. If the Hanok and wall were evaluated and constructed at the same time, the wall would have been built in unison with the size and design of the Hanok. The layout of the main building and wall of the Hanok is deemed to be a structure that is closed tightly because of its spatial proximity and tall height. Songsan-ri-gil's wall design should create a calm, subtle, and peaceful atmosphere with shapes, colors, and materials that express ancient city characteristics, but it is in an awkward position due to its sharpness and narrowness. The cause of the problem at Gongju-si Geumseong-dong Songsanri-gil, the case candidate, is that it is lacking significantly in terms of the aesthetic factors that traditional walls should possess. First, aesthetic consciousness seems to have disappeared during the selection and application process of the wall's natural materials. Second, the level of completion in design and harmony is absent. Maintenance guidance after analyzing the cause of problems in ancient city wall maintenance at Gongju-si Geumseong-dong Songsanri-gil, the subject area of research, is as follows: First, the Hanok design and layout of the wall and main gate should be reviewed simultaneously. Second, the one-sided use of natural stone wall in the Hanok wall design should be reexamined. Third, a permanent system to coordinate the opinions of citizens and experts during the planning and design phases should be employed. Fourth and finally, the Hanok's individuality shall be collectivized and its value as a cultural asset representing the identity of the community shall be increased.

Usefulness of Rotation for Toric Soft Lenses Using Objective Refraction (타각적 굴절검사를 이용한 토릭 소프트 렌즈 회전 평가의 유용성)

  • Yu, Dong-Sik;Moon, Byeong-Yeon;Son, Jeong-Sik
    • Journal of Korean Ophthalmic Optics Society
    • /
    • v.16 no.3
    • /
    • pp.265-272
    • /
    • 2011
  • Purpose: The clinical usefulness of rotation evaluation using objective refraction in toric soft lenses fitting was investigated. Methods: Toric soft lenses were fitted for 32 subjects (64 eyes; mean age of 24.69 ${\pm}$ 1.65 years) with astigmatism and both eyes of each subject were fitted with toric soft lenses. Objective refraction-based lenses rotation was evaluated from refraction and over-refraction data by indirect calculating technique. These calculated data were compared with the measured data from slit lamp with direct measuring technique. Results: Orientation of toric soft lenses around zero position (within ${\pm}$ 5$^{\circ}$ vertical line) was investigated. The orientations to the direction of nose of measured and calculated values were 69.78% and 63.64%, respectively, which showed similar values between two techniques. Agreement frequency between measured and calculated values in the magnitude of lenses rotation 54.69% and 82.82% for 10$^{\circ}$ and 20$^{\circ}$ of vertical line, respectively. The 95% limits of agreement between calculation and measurement were from -10.08$^{\circ}$ to 12.65$^{\circ}$, and mean difference was 1.29$^{\circ}$ within ${\pm}$ 10$^{\circ}$. The result showed there was no significant difference (p = 0.1984) and high correlation (r = 0.56, p = 0.0004) between two techniques. But the 95% limits of agreement was widen in ${\pm}$ 20$^{\circ}$ of vertical line. The magnitude of lens rotation between two methods was 9.66 ${\pm}$ 6.16$^{\circ}$, 16.17 ${\pm}$ 12.38$^{\circ}$ and 10.58 ${\pm}$ 12.02$^{\circ}$ for normal, loose and tight fitted conditions. Conclusions: From the results with smaller difference between two techniques, it was found that higher availability of subjective over-refraction data can be used as a supplementary tool for subjective refraction. An application using objective refraction with direct measuring could be provide high success in prescription on toric soft lenses.

Role accomplishment and job satisfaction of hospice nurse (호스피스간호사의 역할수행 정도와 직무만족도)

  • Han, Hyoung-Suk;Choe, Wha-Sook
    • Korean Journal of Hospice Care
    • /
    • v.8 no.1
    • /
    • pp.29-48
    • /
    • 2008
  • Purpose: The purpose of this study was to provide the basic information on the improvement plan by identifying the role accomplishment and job satisfaction of the hospice nurses and analyzing the factors that impact such role accomplishment and job satisfaction. Methods: The data was collected of 189 hospice nurses who have been working more than 6 months in 56 hospice programs registered in Korea Hospice Association and Korean Catholic Hospice Association from October to November, 2007 by structured questionnaire which was developed by Ryu(1979), based on the Riehl's nursing role and the research of Choe(2005) on the role of hospice nurse. Results: The role accomplishment and job satisfaction of the study subject were 3.53 point and 3.39 point, respectively. The roles of hospice nurses were accomplished by the order of advocator, nursing care provider, coordinator (cooperation), educator, quality manager, counsellor, administrator, and researcher. The job satisfaction of the hospice nurses was shown highest in the satisfaction of professional status, followed by the satisfaction of the interaction, satisfaction of the task itself, satisfaction of the administrative aspect, satisfaction of the autonomous, and the lowest in the satisfaction of the pay. The role accomplishment of the subjects according to their socio-demographic and job characteristics was found to have a significant difference by their age, marriage status, academic background, and position. It also has a significant difference by whether they play role of coordinator, whether they took whole responsibility as hospice, working experience as hospice/palliative nurse, and the level of hospice/palliative nursing training(p<.05). In the study of job satisfaction of the subjects according to their socio-demographic and job characteristics, the job satisfaction was found to have a significant difference by the increase of age, the number of duties consisting the hospice team, whether they play role of coordinator, whether they take whole responsibility as hospice, the level of hospice/palliative nursing training, and whether they wish to work for as long as possible(p<.05). The role accomplishment and the job satisfaction of the subjects showed a statistically significant positive correlation. (r=.541, p<.01) Conclusion: Raised saiary will be increased hospice nurse's job satisfaction. And we suggest a repetitive study using the identical tool to the equally extracted subjects with same representativeness of each hospice/palliative institute type. For the expanded role and enhanced professional standard of hospice nurses, we also suggest a study on the improvement plan to enhance the roles of researcher and administrator.

  • PDF

E. Husserl's Phenomenological Ego (E. 후설의 현상학적 자아)

  • Bai, Woo-soon
    • Journal of Korean Philosophical Society
    • /
    • v.146
    • /
    • pp.49-77
    • /
    • 2018
  • This essay examines the ego (I-Subject) problem in Husserl's phenomenology and consists of four parts, as follows. Section I describes the meaning of this research on ego and some important points to note in relation to this study. Section II discusses two aspects of the problem of pure ego, which appears as an ego-problem for the first time. The first aspect is the two opposing positions that Husserl himself took regarding pure ego. Husserl initially rejected pure ego as an object of research in Logische Untersuchungen I (1901) however, he withdrew this position in Logische Untersuchungen II (1913). The second aspect is the content of pure ego that Husserl explored in Ideen I (1913) after he accepted pure ego as a phenomenological problem. The theme of section III is the "theory of three egos" which appeared in Ideen II (1912, 1952). Here, two issues have been noted, one of which is the methodological basis for enabling this theory: the phenomenological "attitude change" (Einstellungsaenderung) and the "Underlying" (Fundierung). The other is the explanation of the content of the three egos: the "physical ego", "personal ego" and the "pure ego". Section IV concerns two themes of the "monadic ego" that appeared in the Cartesianische Meditationen (1931). The first theme is the theoretical premise for the establishment of the monadic ego. In conjunction with this theme, phenomenological-psychological reduction was used as a new method to open up new problem horizons. The second theme brings up the content of the monadic ego, the essence of which can be summarized as follows. 1) This ego is based on a pluralistic and independent ego-concept in which each ego is equal to its own self. 2) It must be asked whether each of the monadic egos is different from one another. 3) The "other" of a certain transcendental ego is not the ego-other relationship but ego-another ego (alter-ego). 4) This phenomenological monadic ego can mutually communicate with alter-egos through empathy, unlike Leibniz's metaphysical monads.

A Study of Local Festival for the China Hebeisheng (중국 하북성 마을제 연구 - 하북성조현범장이월이룡패회중룡신적여인(河北省趙縣范庄二月二龍牌會中龍神的與人) -)

  • Park, Kwang-Jun
    • Korean Journal of Heritage: History & Science
    • /
    • v.36
    • /
    • pp.347-377
    • /
    • 2003
  • China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

Kobong(高峯)'s Philophy and the theory of Self-cultivation(修養) (고봉(高峯)의 성리학(性理學)과 수양론(修養論))

  • Kang, Heui Bok
    • The Journal of Korean Philosophical History
    • /
    • no.31
    • /
    • pp.33-52
    • /
    • 2011
  • This study intends to understand Kobong's thought, especially the problem of Self-cultivation. Kobong, along with Toegye(退溪), is a major figure to understand Confucian ideas of Chosun in the 16th century. There has been a lot of research centered on Kobong's Four-beginnings(四端) and Seven-emotions(七情), but not much on the Self-cultivation of Kobong. Confucianism is basically to seek after actualization of Perfect Virtue(仁) and the way to be a sage, through the pursuit of self-discipline(修己 明明德) and social practice(安人 新民). The problems of Confucianism might be summarized as follows: interest and appreciation for the source of existence(知天/事天); harmony in relationships and practices(愛人/愛物); both of the above together. Therefore, Self-cultivation is to change the self, the subject of one's life, through the relationship between man and heaven. Kobong and Toegye had debated for about eight years(1559-1566) over the problem of human nature, especially emotion(情), and virtue and vice(善惡) fundamental position of Toegye is that the difference between Four-beginnings(四端) and Seven-emotions(七情) can be understood as emotion with qualitative distinction. By contrast, Kobong sees the relationship between Four-beginnings(四端) and Seven-emotions(七情) as that of total and partial. Discussion on the Four-beginnings(四端) and Seven-emotions(七情) is not restricted within the problem of logical analysis of concepts or theoretical validity, but come to a conclusion with the problem of Self-cultivation(修養). In this sense, Kobong tried to follow Neo-Confucian theory of human nature and self-cultivation, on the assumption of Confucian self-discipline and social practice.

Research of the Neo-Confucianism and the development of Landscape painting in Song Dynasty (성리학(性理學)과 산수화(山水畵)의 발전에 관한 연구 - 송대를 중심으로 -)

  • Jang, Wan-sok
    • The Journal of Korean Philosophical History
    • /
    • no.32
    • /
    • pp.309-336
    • /
    • 2011
  • There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

Exploring the Trend of Korean Creative Dance by Analyzing Research Topics : Application of Text Mining (연구주제 분석을 통한 한국창작무용 경향 탐색 : 텍스트 마이닝의 적용)

  • Yoo, Ji-Young;Kim, Woo-Kyung
    • Journal of Korea Entertainment Industry Association
    • /
    • v.14 no.6
    • /
    • pp.53-60
    • /
    • 2020
  • The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe's performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on 'Art of Choi Seung-hee in the modern era' was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as 'the performance activities of the National Dance Company' and 'the choreography expression and utilization of traditional dance'. However, since the recent trend of the National Dance Company's performance is advocating 'modernization based on tradition', it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of 'dancing expressions by age'. It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.

The Direction of Physical Training for Actor in Post-Drama Era, "Empty" (포스트드라마 시대에 따른 배우의 몸 훈련의 방향성,'비우기(empty)')

  • Ra, Kyung-Min
    • Journal of Korea Entertainment Industry Association
    • /
    • v.14 no.8
    • /
    • pp.77-90
    • /
    • 2020
  • Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

Extension of Platforms and Return of High-Teen Romance Drama (플랫폼의 확장과 하이틴 로맨스 드라마의 귀환)

  • Moon, Sun-Young
    • Journal of Popular Narrative
    • /
    • v.25 no.4
    • /
    • pp.45-71
    • /
    • 2019
  • Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.