• 한국식생활문화학회지
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• 제29권6호
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• pp.477-487
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• 2014

This study aimed to develop a new commercialization model for theindustrialization of head family food as a gentry families' complex food culture product. We tried to develop a head family food and propose a city sightseeing style's head family product by interviews with 'Hakindang' as the center, the head house of the Suwon Baek clan, and Injaegong group in Jeonjoo. Hakindang (in Jeonju) was confirmed as an improved model Korean-style house in the enlightenment period and the twentieth style modern head family as emerging capitalist. Hakindangsupported independence war funds in the Japanese colonial era and was widely known as gate of filial piety in Jeonju. Representative seasonal foods of Hakindang include pan-fried sweet rice cake with flower petals in the spring, hot spicy meat stew and polypus variabilis in summer, hanchae in autumn, and napa cabbage kimchi with salted flatfish seafood in the winter. When parents-in-law had a birthday, there were party noodles, sliced abalone stuffed with pine nuts, brass chafing dish, fish eggs, slices of blilde meat, and matnaji. Daily, there were mainly salted seafood, slices of raw fish, grilled short rib patties, braised fish, baked fish, syruped chestnut, grilled deodeok root, bean sprouts, radish preserved with salt, dongchimi, soy sauce-marinated horseshoe crab, butterbur, perilla seed stew, salted clams, raw bamboo shoot, agar, fried kelp, etc. The most basic virtue of the head family is filial duty, and they developed mosim dining as a representative food of Hakingdang's head family. The mosim menu is composed of 65% carbohydrates, 20% protein, and 15% fat because it is table for parents-in-law like more than 75 years old. The sensory evaluation showed a chewy texture that is easily swallowed.

• 대한지리학회지
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• 제39권3호
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• pp.297-320
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• 2004

1904년 대한제국 정부에서 간행한 $\boxDr$경상남도가호안$\boxUl$은 총 31개군 가운데 11개군의 자료가 현전하는데, 이 자료는 당시 이 지방의 민가에 대한 상세한 정보를 담고 있다. 이 논문은 제1차자료인 가호안의 분석을 통하여 동ㆍ면ㆍ군별 가좌의 토지등급ㆍ가옥의 규모, 가좌와 가옥의 소유관계, 초ㆍ와가의 분포 등을 파악한 연구이다. 가호안의 분석결과 전체 가호의 약 20%는 사유지 또는 국공유지를 임대한 가좌에 지어졌다. 또한 가옥의 90%는 방 한칸 또는 두칸에 부엌이 딸린 집이었으므로 지역의 가옥규모는 2.75칸에 불과하였다. 다시 말하면 100년전 경상남도의 가옥규모는 조선시대의 이상 가옥형인 삼간초옥에도 못미쳤던 것이다. 이러한 열악한 주거조건 때문에 1인당 점유공간이 2-4평방미터에 불과하며 결과적으로 수용가능한 가족의 수도 4인 내외로 한정되었다.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
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• 제49권1호
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• pp.43-48
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• 2023

The biocompatibility and durability of implant fixtures are major concerns for dentists and patients. Mechanical complications of the implant include abutment screw loosening, screw fracture, loss of implant prostheses, and implant fracture. This case report aims to describe management of a case of fixture damage that occurred after screw fracture in a tissue level, internal connection implant and microscopic evaluation of the fractured fixture. A trephine bur was used to remove the fixture, and the socket was grafted using allogeneic bone material. The failed implant was examined by scanning electron microscopy (SEM) and energy dispersive X-ray spectroscopy (EDS), which revealed a fractured fixture with both normal and irregular bone patterns. The SEM and EDS results give an enlightenment of the failed fixture surface micromorphology with microfracture and contaminated chemical compositions. Noticeably, the significantly high level of gold (Au) on the implant surface and the trace amounts of Au and titanium (Ti) in the bone tissue were recorded, which might have resulted from instability and micro-movement of the implant-abutment connection over an extended period of time. Further study with larger number of patient and different types of implants is needed for further conclusion.

• 한국학교ㆍ지역보건교육학회지
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• 제10권2호
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• pp.69-83
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• 2009

Objectives: The purpose of this study was to analyze sexual permissiveness in order to solve the problems it creates for setting up desirable sexual culture. Methods: This study used Walker and Avant's methods for concept analysis. Results: Sexual permissiveness is the favorable attitude that is agreed upon and accepted as physiological, socio-cultural, and moral sexuality of an independent human who was born in man or woman. The property of sexual permissiveness that is accepted overall the humans are sex generously, change over the course of growth. sex consciousness, and attitudes toward sexual activity change based on race, age and religion etc. The values and beliefs of individuals that were formed in social and cultural background are bipolar. It is mutually agreed upon and accepted that volunarary activities should be spontaneous. The antecedents of sexual permissiveness included achievement of sexual development, establishment of the relationship, and mutual agreement between them. The consequences included mature relationship with others, meeting sexual needs, and raising sexual problems. Conclusions: These results suggest further studies are required that refine the diverse attributes of the concept of sexual permissiveness. The sexual education and enlightenment should be conducted at the period of secondary sex character.

• 한국문헌정보학회지
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• 제57권1호
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• pp.183-211
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• 2023

본 연구는 1904년에서 1905년 초 사이 금남 이동진의 의지와 재정지원에 따라 그의 장남인 소남 이일우에 의해 대구에서 설립, 운영되었다가 1911년 일제에 의해 폐쇄된 것으로 알려진 사숙이자 도서관인 우현서루(友弦書樓)를 근대 도서관이라는 측면을 중심으로 분석하였다. 이를 위해 우현서루를 1) 설립 주체와 설립 목적 2) 설립 일자 3) 위치와 건물 4) 장서 구성과 확보 방법 5) 이용대상과 주요 이용객 6) 도서관 활동 7) 폐쇄 과정 8) 폐쇄 후 장서의 이동 등으로 세분화하여 살펴보았다. 이를 위해 본 연구에서는 이동진·이일우 부자와 그의 후손과 지인이 쓴 글을 담은 <성남세고>를 비롯해 다양한 DB와 인터넷 검색을 통해 도서, 당시의 신문과 잡지기사, 논문, 기록물 등을 찾아내고 이를 기반으로 인용문헌 확장검색을 실시하여 관련문헌들을 광범위하게 분석하였다. 우현서루의 도서관 성격에 관한 8가지 측면에 대해 분석한 결과, 우현서루의 설립과 폐쇄, 매각 등에 관한 기존의 주장 중에서 일부 오류를 발견하였고, 우현서루의 장서규모와 장서확보 방안, 우현서루의 이용대상, 우현서루 폐쇄 후 장서 이동과정 등에 대해 새로운 결과를 제시하였다.

• 건축역사연구
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• 제20권5호
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• pp.81-94
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• 2011

Buddhism that has arisen in India began to build the Stupa to enshrine body and Sari of Buddha as an object of worship. The stupa existed as a tome of holy leaders even before the birth of Buddha, which was called stupa or tupa in the Sanskrit and the Pali, the ancient language of India. The stupa was renamed accordingly in each Buddhism transmitted countries such as Ceylon, Tibet, Nepal, Myanmar, Thailand and China and also reshaped according to their own formative style. But its original meaning and type are kept unchanged. The stupa was established in the 4 holy places including the birth place of Buddha, the place where Buddha found enlightenment, the place where Buddha preached for the first time, and the place where Buddha died. Thus, a pagoda to commemorate holy ancient places is called Chaitya, which became differentiated from the stupa in which Sari is enshrined. The stupa means Nirvana, the eternal body of Buddha, and also a place filled with teaching and preaching of Buddhism. It signifies the symbol of Buddha who escaped from the death and rebirth, to achieve complete extinction, i.e. parinirvana, and to reach ultimate eternal world, rather than simply means death. During the non-statue of th Buddha period, people built the stupa to embody Nirvana of the Buddha, and worshipped the tomb where body of holy saints was enshrined. On the other hand, they also sanctified memorial things such as tools that holy saints used, the Bo tree under which one achieved Nirvana, Dharma cakra that implied words, footprint that carried out mission work, and a way to reach to heaven.

• 동남아시아연구
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• 제21권2호
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• pp.155-182
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• 2011

The purpose of this paper is to examine the process of Islamization in Java, focusing on religious discourse among Muslim intellectuals. How Islamic tradition and knowledge have been perceived and utilized and how they have interacted with those of non-Islamic origin will be discussed. For this, three Islam-related books written in different phases of Islamization are to be analyzed: Babad Tanah Jawi compiled by Mataram court in the 17th century, Serat Cabolek written by a court poet in the late 18th or early 19th century, and Fikih Anti-korupsi published by reformist and scriptural organization of Muhammadiyah in 2006. Babad portrays conversion to Islam as a process which does not demand a dramatic outward change in religious practice. Scriptural tradition of Islam and the dichotomy between what is Islamic and what is not were not mentioned in order to explain conversion. Spiritual and mystical enlightenment was emphasized heavily, and for this, the importance of non-Islamic traditions was fully acknowledged. Serat tells us that this period was characterized by the surge of scriptural and shariah-minded Islam, maintenance of non-Islamic traditions, clashes between scriptural Islam and old religious traditions, and Javanese efforts to harmonize these. In Fikih, non-Islamic tradition is replaced by scriptural Islam and disappears totally. Interpretations based on the Scriptures, however, do not monopolize it and are used together with mode of analysis from the West. It is too much to call this 'intellectual syncretism', in that Islamic Scriptures and Western knowledge do not mix but stand side by side. Three books under examination reveal that the process of Islamization in Java has not been uniform. It has been conditioned and shaped by local socio-cultural and historical circumstances, where active engagement and intellectual exercise of Javanese Muslims have played key roles. Even Islamization in the last few decades is not an exception. The surge of scripturalism and fundamentalism does not simply bring about a move to Arabization. Interacting with local intellectual and socio-cultural milieu, this has produced a sort of intellectual hybridity, which is unique to Muslim society of Java.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권3호
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• pp.151-161
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• 2017

일제강점기에는 신문과 잡지뿐만 아니라 단행본-『요지경』(1910), 『절도백화』(1912), 『개권희희』(1912), 『앙천대소』(1913), 『깔깔우슴』(1916), 『소천소지』(1918), 『고금기담집』(1923), 『만고기담』(1924), 『조선팔도 익살과 재담』((1927), 『세계소화집』(1934) 등이 출간될 정도로 웃음서사들이 유행했다. 본 연구에서는 『별건곤』 각 호에 흩어져 있는 서사들의 큰 제목을 중심으로 그 서사들이 근대성을 획득하는 방식을 논하고, 서사들의 내용을 살펴서 『별건곤』(1926. 11-1934. 8)에 실린 웃음서사들의 특성을 밝힌다. 잡지에 수록된 웃음서사들은 149개에 이르고, 특히 서사를 아우르는 제목들에서 당시의 잡지 편집인들의 고민을 읽을 수 있다. 서사들은 '신부후보자 전람회', '신랑후보자 전람회', '넌센스 특설관', '현대 조선 10대 발명품 신제조법', '소화방송실', '소화방송국', '자유행진곡', '신춘 폭소대회', '유모어 오케스트라' 등처럼 우리의 전통문화에서는 찾아볼 수 없는 새롭게 유행하는 문화용어들과 결합함으로써 근대성을 획득하고 있다. 서사는 재치, 계몽, 세태비판, 그로테스크 등의 성격을 지니며 독자들에게 웃음을 전해주고 있다. 『별건곤』 잡지에 수록된 서사는 일제강점기의 우울한 시대를 웃음으로 견뎌낼 수 있게 했다는 데 그 의미가 있다.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• 미술이론과 현장
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• 제4호
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• pp.77-104
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• 2006

The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.