• Korea Journal of Hospital Management
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• v.7 no.4
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• pp.57-101
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• 2002

These days, the environment of hospital marketing is changing rapidly. The level of expectation and demand of patients have become greater and more diversified, and patients have more alternatives in selecting hospitals. The standard of hospital selection and the type of using hospital have been changed, and competition among hospitals has been accelerated due to the opening of the medical market through globalization. Accordingly, differentiation strategies are critical in hospital marketing. The quality of medical service oriented toward patient satisfaction becomes a strong strategic weapon to secure a hospital's competitive advantage. Therefore, marketing and communication strategies should be focused on patient-oriented, rather than hospital-oriented. Considering the changes in the hospital environment and the increase in the patients' expectation level, this study categorizes doctors' communication styles into four different ones: trust-type, professional-type, cooperation-type, and control-type. The effects of these communication styles on patient satisfaction were empirically examined. The moderating roles of the patient's characteristics and clinical characteristics between the doctors' communication styles and patient satisfaction were also investigated to find out managerial implications for hospital management. To achieve such goals, data were collected from patients of 12 general hospitals in Busan. The data were analyzed to test research hypotheses that examine 1) the relationships between doctors' communication styles and patient satisfaction, 2) the moderating roles of the patient characteristics and clinical characteristics in the research model, and 3) the impact of patient satisfaction on positive word-of-mouth and repurchase. The following summarizes the major results of this research. First, the data showed that patient satisfaction varied across doctors' communication styles. Trust-type style had the strongest impact on patient satisfaction while control-type style had the weakest influence on patient satisfaction. Professional-type style and cooperation-type style also had positive effects on patient satisfaction but the impact of the two are not statistically different. Second, significant differences in terms of patient satisfaction were found depending upon demographic variables such as gender, marital status, age, occupation, and education. Patient satisfaction, however, was consistent across varying income groups. Third, patients' medical insurance types were also related to patient satisfaction. It implies that a doctor may need to use different communication styles depending on a patient's medical insurance type. Fourth, out-patient and in-patient showed a different level of satisfaction with varying communication styles. Fifth, highly professional knowledge and strong control can influence patient satisfaction depending on the characteristics of the patient treatment field. Sixth, patient satisfaction were proved to have significantly positive effects on word-of-mouth and repurchase. The implications drawn from this study must be tempered by its limitations. First of all, the subjects used in this study were patients in Busan and small- and medium-size hospitals were excluded from the research. Therefore, future research should examine the research model by using a variety of hospitals and clinics throughout Korea. Another research agenda has to do with finding more determinant and moderating variables which will increase an explanatory power of the model. In short, this study may be the first empirical research that investigates the effects of doctors' communication styles on patient satisfaction. Interestingly enough, the results showed that each communication style had a unique impact on patient satisfaction. The findings from this research can be very useful in developing hospital marketing strategies.

• Journal of the Economic Geographical Society of Korea
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• v.10 no.2
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• pp.211-222
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• 2007

This paper aims to evaluate the new regional development policy which is entirely focused on the lagging rural regions in Korea. The new regional development, called the shin-hwal-ryuk policy is to reflect the radical change in the idea and philosophy of rural development. Although traditional rural development policies were top-down-based and physical infrastructure-centered, the new rural development policy idea is based on bottom-up and soft infrastructure which is related to the promotion of regional innovation capacities. However, it is revealed that the new rural policy involves a variety of problems in the process of establishing and making progress the policy plan in a local level. In the operating process of the policy plan, the central government has shown too quick-tempered for achieving visible outcomes, while many of local government suffer from the lacks of professional capabilities to carry out the plan. I see that as a result of the mixture of these problems the new policy is regarded as 'passively localized process' by the central government rather than 'actively localizing process' by the region for building regional innovation capacity.

• Korean journal of food and cookery science
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• v.19 no.4
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• pp.413-422
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• 2003

The purpose of this study was to investigate the relationship between the dietary attitude and health on the stress status of office - workers in Seoul. This research was conducted on 389 office workers (224 males and 165 female). In relation to stress, it was found that the degree of stress as an office workers was ′slight′ and much for 45.2% and 40.6%, respectively, of the study population. Consequently, most office workers were found to be under stress. The amount of food intake under stress was found to be ′reduced′, unchanged and increased in 38.3, 37.0 and 24.7%, respectively, of those surveyed. The preferred foods when under stress were found to be alcoholic and non-alcoholic beverages, in 57.6% of cases, which was the highest proportion regardless of age, sex, marital status, occupation and educational level. The desired taste when under stress was found to be ′hot′ and sweet in 34.7 and 26.0%, respectively. As to the feeling after food intake, 51.7% responded that food intake was not useful for the relief of stress, which was the highest proportion and many salaried females worried about weight gain. With regard to the relationship between stress, health and nutrition, 69.9% of office workers responded that they thought the relationship of these factors was very high. As for the greatest cause triggering stress, 50.3% responded "due to workplace and job". The best method for relieving stress was to do exercise, with a 30.1 % response, The average score for the degree of stress and tension was 7.2, with 64.0% of office workers having an average level between 6- and 9. The degree of stress was higher for females than males, for unmarried salaried and hot-tempered persons. Those not doing exercise were subject to the highest levels of stress, and those a having sufficient sleep were found to be subject to less stress. Those interested in their health were found to have a good condition and lower levels of stress. In correlation with eating habits, stress, the degree of tension and personality, the F-value was found to be 43.505 (p<0.01), with an explanatory power of 0.294 (29.4%), indicating significant differences. This means that office workers with higher degrees of stress and tension tended to have poorer eating habits. Since bad eating habits have an adverse effect on both the state of physical health and individuals emotional development, for the purpose of correctly managing stress, office workers should make efforts to practice good eating habits.

• Korean Journal of Metals and Materials
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• v.49 no.8
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• pp.628-634
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• 2011

SA508 Gr.4N Ni-Cr-Mo low alloy steel, in which Ni and Cr contents are higher than in commercial SA508 Gr.3 Mn-Mo-Ni low alloy steels, may be a candidate reactor pressure vessel (RPV) material with higher strength and toughness from its tempered martensitic microstructure. The inner surface of the RPV is weld-cladded with stainless steels to prevent corrosion. The goal of this study is to evaluate the microstructural properties of the clad interface between Ni-Cr-Mo low alloy steel and stainless weldment, and the effects of post weld heat treatment (PWHT) on the properties. The properties of the clad interface were compared with those of commercial Mn-Mo-Ni low alloy steel. Multi-layer welding of model alloys with ER308L and ER309L stainless steel by the SAW method was performed, and then PWHT was conducted at $610^{\circ}C$ for 30 h. The microstructural changes of the clad interface were analyzed using OM, SEM and TEM, and micro-Vickers hardness tests were performed. Before PWHT, the heat affected zone (HAZ) showed higher hardness than base and weld metals due to formation of martensite after welding in both steels. In addition, the hardness of the HAZ in Ni-Cr-Mo low alloy steel was higher than that in Mn-Mo-Ni low alloy steel due to a comparatively high martensite fraction. The hardness of the HAZ decreased after PWHT in both steels, but the dark region was formed near the fusion line in which the hardness was locally high. In the case of Mn-Mo-Ni low alloy steel, formation of fine Cr-carbides in the weld region near the fusion line by diffusion of C from the base metal resulted in locally high hardness in the dark region. However, the precipitates of the region in the Ni-Cr-Mo low alloy steel were similar to that in the base metal, and the hardness in the region was not greatly different from that in the base metal.

• Journal of the Korean Society of Industry Convergence
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• v.26 no.6_2
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• pp.1011-1017
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• 2023

In this study, the harmless crack size (a_hml) by double shot peening (DSP) using shot balls with different diameters was evaluated on carburized, quenched-tempered SCM822H steel. The minimum crack size (a_NDI) detectable by non-destructive inspection was also evaluated. The relationship between the crack size (a_25,50) that reduces the fatigue limit by 25% and 50% and a_hml was evaluated. The residual stress of DSP was greater in SP_(0.6+0.08) than SP_(0.8+0.08) and appeared deeper in the depth direction. In addition, the hardness below the surface appeared larger. The fatigue limit of DSP increased 2.07 times and 1.95 times compared to non-SP. All a_hml of the DSP specimen was determined at the depth (a). The compressive residual stress distribution affects a_hml, and the a_hml of SP_(0.6+0.08), which has a large compressive residual stress and a high fatigue limit, appeared large. a_hml of SP_(0.6+0.08) introduced deeper than the residual stress of SP_(0.8+0.08) is larger in the range of As=1.0-0.3. Since the residual stress in the thickness direction has a greater effect on a_hml than the residual stress at the surface, it is necessary to introduce it more deeply. The relation of a_hml, a_25,50, and a_NDI were evaluated in the point for safety and reliability.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of Conservation Science
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• v.32 no.4
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• pp.579-588
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• 2016

This study analyzed nonmetallic inclusions in iron swords with a ring pommel excavated in the Ipbuk-dong, Suwon. Scanning electron microscopy with energy dispersive spectroscopy(SEM-EDS) was used to estimate the iron-making temperature, and we compared the oxide with $SiO_2$ to investigate the heat-treatment technology in the production of iron swords with a ring pommel by investigating the artificial insertion of a slag former and the metallurgical structure. From the wustite observed in most of the specimens, it is judged that these swords were produced by heating and forging iron smelted at a low temperature using the solid reduction method. In addition, judging from the partial presence of $P_2O_5$, it is assumed that they were smelted directly with natural ore, not calcined. From the ratios of $CaO/SiO_2$ and $TiO_2/SiO_2$, it is judged that the raw material for iron-making was iron ore and that a calcareous slag former was not artificially inserted. The structure of the blade part on the front end was pure iron. From the high carbon content of the blade part on the ring pommel and the formation of a martensitic structure and pearlite colony, it is judged that they were tempered after carburizing and that the back, handle part, and ring pommel were unintentionally carburized. Judging from the structure of these specimens, it was noted that they were produced by applying artificial partial heat-treatment technology. This study attempted to present a more scientific analysis by using the method of interpretation through component analysis of nonmetallic inclusions appearing in one relic by the ratio of the oxide divided by $SiO_2$. It is judged that reinterpreting the arguments by the results of the existing analysis and research in this way can obtain different interpretations.

• Food Science and Preservation
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• v.10 no.3
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• pp.339-346
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• 2003

In order to improve some problems such as contamination of undesirable mold, mycotoxin production and excessive drying on the surface of traditional meju, we developed a capsule type-meju(CM) coated with steamed black bean and Aspergillus oryzae - rice koji(0.3％, w/w) mixture to surface of traditional meju and fermented at 25$^{\circ}C$ for 14 days under 80％ relative humidity. Contamination of undesirable mold on the surface of CM was not detected within 2 weeks and some genus Penicillium molds on control meju without koji were found naturally after 12 days of fermentation. The moisture content of meju was showed to be in the range of 34.7 - 29.4％ being 32.7％(w/w) of mean value. Titratable acidities in CMs prepared with black bean(BCM) and soybean(SCM) were much higher than that in control meju, and BCM was similar to SCM. Free sugar content in BCM(123.98 mg％) was 10 times and 2.1 times higher than that in control meju(15.02 mg％) and SCM(59.85 mg％), respectively. Amino type nitrogen content in control meju was 147.00 mg％ and its content in BCM(255.50 mg％) was 1.37 times higher than that in SCM(187.25 mg％). Total organic acid content in BCM(95.98 mg％) and SCM(1l9.98 mg％) were much higher than that in control meju(26.44 mg％), and then lactic and malic acid contents were markedly changed according to capsulation of meju. Lightness value(L) of Hunter color index was much higher in BCM than in SCM. Fatty acid composition of CM was not different as compared to control meju. Total free amino acid content in BCM(1039.70 mg％) was 4.4 times and 2.4 times higher than that in control meju(236.45 mg％) and SCM(556.07 mg％), respectively.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.66-75
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• 2012

The Seoul Metropolitan Government selected the sign designs of cultural heritages through a public prize contest from a public design perspective and applied the selected design format to the signs of the cultural assets that were designated by the central and Seoul governments and located in Seoul Metropolitan area in 2008. For the purpose of monitoring the result, this study analyzed the installation state of the signs of Seoul tangible cultural properties located in Jongno-gu. The scope of the analysis of this study was expanded to cover the surrounding areas of cultural heritages in order to review the arrangement and design of such signs. The result of this study can be summarized as follows; firstly, not only the flow of travelers' movement but also the direction of sight, their locations in relation to the surrounding facilities or other installations and the integration with similar signs or notices were necessary to be considered in the arrangement of the signs; secondly, the current sings had low quality in terms of durability and readability and seemed utterly distance from the cultural assets indicated by the signs because they were finished with tempered glass; thirdly, the size, shape and materials of the signs were not harmonized with their surrounding areas as only one design was used in the entire cultural property sites without considering such natural or artificial backgrounds of individual signs as rocks, plants, walls or buildings. When selecting the design format of the signs of individual cultural properties that are located dispersively as Seoul tangible cultural properties, it is recommended to determine a group of most representative designs based on natural, man-made and cultural landscape rather than one unified design format and to use a unique well-matched sign for each cultural property. For this reason, this study selected alternative exemplary design models and proposed the type of signs appropriate for each cultural site.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.