• Journal of Oral Medicine and Pain
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• v.38 no.1
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• pp.29-34
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• 2013

Objective: All patients who have the disc displacement with reduction (DDwR) are always not progressive but some of them with significant catching or locking progress to disc displacement without reduction (DDw/oR). In this study, we suggest opening exercise therapy using Locking-free Appliance (LA) to be helpful to prevent progressive derangement. Methods: Retrospectively, a total 37 patients who received exercise treatment using LA was analyzed from January 2010 to December 2011. Patients had been instructed in proper exercise technique to practise for opening and closing of mouth wearing the appliance 30 times a day in locking-free position. Results: None of the patients took a turn for worse to DDw/oR (37 patients). The 16 patients (43.2%, locking-free group) of them could open their mouth without intermittent condylar locking. Measurement of data was analyzed using and Mann-Whitney test. There was no statistically significant difference for age, gender, presence of palpational pain, locking period, VAS quantitative pain score between locking-free group and locking group. Conclusions: In this study, some patients could open their mouth without intermittent locking and did not take a turn for worse to DDw/oR after opening exercise therapy with LA. Furthermore, LA had advantages which were short wearing time, low costs and minimizing patients' uncomfortable compared to conventional treatment method. This therapy can be more appropriate new treatment to prevent progress to DDw/oR.

• Journal of Korean Ophthalmic Optics Society
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• v.16 no.4
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• pp.383-390
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• 2011

Purpose: The present study was conducted to investigate whether refractive powers of soft contact lenses were induced by the deposition of tear proteins when wearing soft contact lenses. Methods: The soft contact lenses (material: etafilcon A, hilafilcon A and comfilcon A) with refractive powers of -1.00 D, -3.00 D, -5.00 D and -7.00 D were incubated in artificial tear for 1 day, 3 days, 5 days, 7 days and 14 days, respectively. After incubation, their refractive powers were measured by wet cell method with an auto-lens meter and their protein deposited on the lenses was determined by the method of Lowry. Results: Among three types of soft contact lenses, the most protein deposition was detected in ionic etafilcon A lens material and significant change of its refractive power was manifested. In other words, refractive powers of etafilcon A lenses firstly decreased after 1 day incubation in artificial tear and then gradually increased with increasing incubation period again. The observed change in refractive powers of all diopters of etafilcon A material was beyond the scope of standard error and bigger in the lens with lower optical power. On the other hand, non-ionic hilafilcon A showed less protein deposition as much as about 20% in etafilacon A and statistically significant increase of refractive powers with increasing incubation period in artificial tear. The change in refractive power of hilafilcon A was also beyond the scope of the standard of error when incubating in artificial tear and greater in the lens with lower diopter. The least protein deposit was shown in silicone hydrogel lens material, comfilcon A as approximately 10% of it in etafilcon A, indicating less change in refractive power within the standard range of error. Conclusions: The large change of refractive powers that was beyond the scope of standard error by the deposition of tear proteins on soft contact lenses was differently detected depending on lens materials in the current study. Thus, the deposition of tear proteins induced by longer period of lens wearing may be one of the causes that induces blurred vision, suggesting that soft contact lens wearers with the amount of tear proteins may need to choose proper lens material.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
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• v.31 no.2
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• pp.116-129
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• 2005

Distraction osteogenesis is a new bone formation technique. There is a advantage of the environmental adaptation when distraction force is applied to the gap between osteotomy lines. But it has a disadvantage of long-term wearing of the appliance and long consolidation period. Therefore we make an effort to reduce it and repair normal function. Extracellular matrix proteins have a function to control the cellular growth, migration, shape and metabolism. In these, hyaluronic acid is a member of polysaccharide glycosaminoglycans (GAGs) and has a important function as bone formation and osteoinduction property. Purpose : In this experimental study in rabbit mandibular distraction osteogenesis, we investigated the bone enhancing property of hyaluronic acid and the expression of extracellular proteins such as osteocalcin and osteonectin. Materials and Methods : The experimental study was carried out on 24 Korean male white rabbits (both mandibular body, n=48). Distraction group was divided to distraction experimental (A, n=16) and distraction control (B, n=16) by the application of hyaluronic acid (Hyruan, LGCI, Seoul, Korea). Normal control group (C, n=16) was only osteotomized. After 5 days latency, distraction devices were activated at a rate of 1.4 mm per day (0.7 mm every 12hours) for 3.5 days. Animals were sacrificed at postoperative 3, 7, 14, and 28 days. H&E stain and immunohistochemical stain was done on decalcified section. Additionally RT-PCR analysis was done for the identification of the expression of osteocalcin and osteonectin. Results : The bone formation in distraction experimental group was much more than that in distraction and normal control group at postoperative 28 days. In immunohistochemical stain, osteocalcin was enhanced at only postoperative 14 days, but osteonectin was not different at each post-operation days. In RT-PCR analysis, osteocalcin was not different at each post-operation days, but osteonectin was strongly expressed in distraction experimental group at postoperative 7 days. The expression of osteocalcin and osteonectin was elevated during the healing period. Conclusion : We found the good bone formation ability of hyaluronic acid in distraction osteogenesis through the immunohistochemistry and RTPCR analysis to osteocalcin and osteonectin, known as a bone formation marker. The application of hyaluronic acid in distraction osteogenesis is a method to reduce the consolidation period.

• Journal of the Korean Society of Costume
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• v.31
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• pp.61-73
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• 1997

Kon-myuh was worn by the ancient Chinese and Korean rulers as ceremonial dress during special rituals such as worshipping heaven and ancestors marriage or funerals. kon-myun consists of two major parts-Myun and kon-bok (the main bodypiece) as well as other articles of clothing(skirt footgear etc), There were regulations set in ancient books describing in detail the make of the kon-myun number of ryu and symbol to be used all which applied to each ruler depending on rank and status. This study is aimed at examining the consistency of the korean and Chinese in following the regula-tions as seen in relics which have been recovered from the past. Based on historical findings it seems that Korean Kon-myun came to Korea from China during the Three Kingdoms period. It was also worn in the Koryo and Chosun Dynas-ties and the Taehan Empire. In studying Konmyun in Korea the researcher studied a book from the early Chosun dynasty, Kukjo-oryeuiseory and a book from the late Chosun Dynasty Kukjo-sangrye-bopyun to find the guidelines and rules applying to the Kon-myun tradition. Slight difference were found across time in the supplementary articles of clothing as seen in Uigwe Pokwan-doseols explanations and drawings of Kon-myun. The researcher used uigwes of funerals of kings of the Chosun Dynasty and observed change over this period of time. However there was a clear consist-ency: the king's Kon-myun consisted of 9ryu-myun 9chang-bok while that of the prince consisted of 8ryu-myun 7chang-bok. For the Taechan Empire the researcher used Tae-han Yae-jun which shows the emperor's kon-myun to have consisted of 12ryu-myun 12chang-bok. To study how the regulations were put into practice relics were uncovered from the periods being studied. A portrait of King Ik-Jong remnants from King Ko-jong's Kon-bok and a photograph of Emperor Sun-jong all were in close adherence to the regulations outlined in the books. In China Kon-myun was worn by emperors from the Han to the Ching Dynastices. The researcher investigated Kon-myun es-pecially in the Ming Dynasty. The Kon-myun regulations as read in Tai-ming-hui-chan changed through all four periods. To study the faithfulness of practice to low Ding-ling the tomb of Emperor Shin-jong who ruled during a period of the Ming Dynasty was unearthed and the remains of the Emperor's Kon-myun were analyzed. The Kon-myun consisted of 12ryu-myuh 18chang-bok and there were other differences I color symbols and wearing method when compared to the regulations. It can be concluded that the Chinese Kon-myun tradition was not in strict adher-ence to the regulations established by law books. This is in contrast to the Korean Kon-myun tradition which showed little devi-ation. Further study is needed to understand why there was this difference in tradition and ritual.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of the Korea Convergence Society
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• v.12 no.1
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• pp.275-281
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• 2021

The purpose of this study is to analyze the differences in Mulan character makeup and to determine whether the makeup of the period reflects the traditional culture through the analysis of Mulan's movies produced in the background of the Mulan Si story in the period of China's North and South Dynasties, the Sui Dynasty, and the Tang Dynasty. The research method is to analyze makeup images. Mulan's usual appearance at home, the appearance in the military, and the appearance of Mulan after wearing makeup were compared to the actual makeup of North and South Dynasties, the Sui Dynasty, and the Tang Dynasty. There are three works refer to the period makeup: the movie (2020), (2020), and the drama (1998). Two Mulan films, (2020) and the movie (2020) use makeup from the North and South Dynasties such as Eo Hwang-jang, Myeonyeop, and Sa Hong to create the character Mulan. (1964) is a work based on the makeup culture of the Tang Dynasty of the Sui Dynasty. Through this paper, hope to look forward to the development of Mulan-related movie works in the future, and at the same time, it is considered that the make-up production according to the periods will be helpful in the creation of movie when producing movie in the background of the North and South Dynasties, the Sui Dynasty, and the Tang Dynasty.

• Journal of Preventive Medicine and Public Health
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• v.35 no.3
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• pp.205-213
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• 2002

Objective : Whether exposure to chronic noise induces an increase in blood pressure, or the development of hypertension, has not been established. A cohort study was performed to identify the effects of chronic noise exposure on blood pressure. Methods : 530 males working at a metal manufacturing factory in Busan, Korea were enrolled for the study. They were monitored for 9 consecutive years, from 1991 to 1999, with an annual health check-up. The subjects were divided into 4 groups, which were determines by noise level categories(NLC) according to noise intensity ; NLC-I: office workers, exposed to noise a level below 60dB(A) ; NLC-II: field technical supporters or supervisors, frequently exposed to workplace noise, wearing no hearing protection device; NLC-III: workers, exposed to workplace noise below 85dB(A), wearing ear plugs or muffs; NLC-IV: workers, exposed to workplace noise over 85 dB(A), wearing both ear plugs and muffs. Results : After controlling possible confoundens, such as baseline age, smoking, alcohol intake, exercise, family history of hypertension, systolic(SBP) of diastolic blood pressure(DBP) and changes in BMI (body mass index), the pooled mean for the systolic blood pressures, over the duration of the study period, were 3.8mmHg, 2.0mmHg and 1.7mmHg higher in NLC-IV, NLC-III NLC-II groups, respectively, than in the NLC-I group. There were no significant differences in the diastolic blood pressures between the groups. Conclusion : This study suggests that chronic noise exposure increases systolic blood pressure independently, among male workers.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Journal of the Korea society of information convergence
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• v.5 no.2
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• pp.77-83
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• 2012

This study was cosmetic contact lens wear for up to 2 weeks in for the evaluation of the insertion. In 1 week during weeks 1 and 2 has been rated 'positive' or 'insert' easy insertion and removal of lenses in the mirror when I saw the 'red eye' negative 'rating in 18 patients (45 %), in 2 shown in 14 patients (35%) as a 'negative' rating over time, depending on the awareness hyperemia has been reduced could see. Future lens purchases from doctors' Week 1 at the 2nd week, came as a result of the positive> negative evaluation was positive = negative. Rating, but usually more than 1 week, 2 weeks, 26 patients (65%) showed no change. State upon insertion of sight, wearing period increased dryness and showed a more positive assessment, the Comfort showed similar ratings. Somewhat negative assessment upon removal of vision status, comfort, dryness, day-to-day life at present, but in both state vision, comfort, dryness positive assessment appears worn than when a positive evaluation appears was unknown.