• Journal of the korean academy of Pediatric Dentistry
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• v.32 no.1
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• pp.40-48
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• 2005

The purpose of present study was to compare the sedative effect of chloral hydrate and oral midazolam treatment. The study was conducted on twenty two child patients who required at least two visits. All the patients showed a good physical status (ASA-I). The patient was randomly assigned to receive drug either chloral hydrate 60mg/kg and hydroxyzine 25mg(Group I) or midazolam 0.5mg/kg and hydroxyzine 25mg(Group II) at each visit. Treatment procedures were divided into six stages. In each stage, sleep, crying, movement and overall behavior score were evaluated. The overall results can be summarized as follows: 1. Success rate was 59.9% in group I and was 77.8% in Group II. 2. Mean sleep score was $1.81{\pm}0.93$ in group I and was $1.44{\pm}0.69$ in group II (P<0.05). 3. Through all treatment procedures, no significant difference was observed between group I and group II in terms of crying, movement and overall behavior score(P>0.05). 4. There was no significant difference between the sex and the age(P>0.05). In regard to above results, oral midazolam considered to be a valuable drug as sedative agent in pediatric dentistry.

• Journal of The Korean Association For Science Education
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• v.39 no.4
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• pp.511-523
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• 2019

In this age of the $4^{th}$ industrial revolution, we, science educators, are giving more light on students' agentic behavior in the process of educating future scientist. This study, with the analytic lens of epistemic agency, explores the key stages of a student-driven R&E program rather than the scientist-led R&E program. It also examines to understand the emergence of students' epistemic agency in each stage of R&E. Data from participant observation for 18 months and in-depth interviews were collected and analyzed with the constant comparative method of grounded theory. This study identifies and describes five key stages of student-driven R&E: The stage of exploring research theme, designing research, performing lab activity, interpreting results, and communicating research. It also finds that (a) students' epistemic agency emerged with the constant interactions with the R&E structure; (b) students' epistemic agency has deep relations with the epistemic beliefs of the students; (c) students positioned themselves as decision-makers in the R&E practice; (d) the redistributed power and authority of the R&E contributed to the emergence of students' epistemic agency.

• Journal of the korean academy of Pediatric Dentistry
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• v.26 no.1
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• pp.69-76
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• 1999

The mandibular buccal frenum is defined as a fold of mucous membrane at the posterior labial vestibule and attaches the lips and the cheeks to the alveolar mucosa, gingiva, and underlying periosteum. The buccal frenum becomes a problem when its attachment is too close to the marginal gingiva. It may then pull on healthy gingiva, encourage plaque formation and interfere with tooth brushing. Especially, heavy buccal frenum mucogingivally results in insufficent attached gingiva, inadequate vestibular depth and high frenum attachment and also difficulty in eruption of mandibular premolar. Frenotomy, frenectomy and mucogingival surgery are used in treating heavy buccal frenum. Frenotomy with autogenous free gingival graft has been used popularly because of its stable result. But, it is difficult in younger children because of inadequate donor site, difficulty in making recipient site and behavior management. Frenotomy with apically positioned flap is considered as more efficient way for a very young child with heavy buccal frenum. Additionally, modified deep sedation with $N_2O-O_2$ can be used as an adjunct for the effective treatment outcome. Decrease in muscle pull, adequate width of attached gingiva and increased vestibular depth can be expected from this treatment approach.

• Journal of Veterinary Clinics
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• v.29 no.1
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• pp.12-17
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• 2012

Many drugs are administered intramuscularly to immobilize and anesthetize dogs. There are many established intramuscular (IM) anesthetic combinations for dogs; however, little information is available on the effects of a xylazinediazepam-ketamine (XDK) combination. The purpose of this study was to investigate the anesthetic effects of the XDK combination in dogs. Twelve adult mixed bred dogs were used. All dogs were anesthetized with an IM injection of diazepam (0.5 mg/kg) and xylazine (1.1 mg/kg) with low-dose ketamine (5 mg/kg; group 1) or high-dose ketamine (10 mg/kg; group 2) in one syringe. After administration of the test dose, the animals were positioned in a right lateral recumbency, and analgesia and cardiopulmonary data were collected and recorded. The duration of anesthesia in group 2 was significantly longer than that of group 1 (mean [sd] 68.0 [7.6] v 51.3 [2.7] minutes). Blood pressure increased significantly after XDK administration in both groups, and $S_aO_2$ levels decreased significantly from baseline at 10, 20, and 30 minutes in both groups. XDK administration produced satisfactory sedation and analgesia in all dogs. In conclusion, intramuscular administration of xylazine-diazepam-ketamine combination at a doses of 1.1 mg/kg xylazine, 0.5 mg/kg diazepam, and 5 or 10 mg/kg ketamine appeared to be effective short duration anesthetic protocols in dogs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.36-44
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• 2020

This study analyzed the Planting Prototype of Haengdan(杏壇)is the One of the traditional planting techniques and the value of natural monument plant and derived the value of the ginkgo tree in Sejong-ri as a natural monument. The results are as follows; First, ginkgo trees have high environmental adaptability, practicality and visual value. There were also many ginkgo trees that were deeply related to Confucian and Buddhist ideas. Ginkgo trees accounted for the largest portion of the number of old tree designated as natural monuments in recognition of their value. Second, after analyzing the historical and cultural values of ginkgo trees, ginkgo trees became the place of gardens and buildings by symbolizing Confucius(孔子)' Confucian ideas. In Buddhism, it was related to the creation of temples or the achievements of ancient monks. The people had a symbol of the prosperity of their offspring and the succession of the family. Third, in 1024 gongdobo, the grandson of Confucius, rebuilt the shrine, installed the platform in the central position and planted ginkgo trees. It originated from what he called "the "haengdan(杏壇)." The tree was then recorded as "heungheang(紅杏)" which was written by Wang Jae-jin's poetry during the Ming Dynasty. Thus it was misused as apricot tree. The cause of this is due to the same kanji reading. or it can be seen as influence on the taoism. But Korea has been sticking to the use of the first ginkgo trees. Forth, biologically, the Sejong-ri ginkgo tree is characterized by the composition of a pair of male trees. The landscape is contrasted with the twisted male tree and vertical female trees. In addition, in terms of authenticity and integrity, the relationship between Admiral Im, Nan-Su(林蘭秀) of the Goryeo Dynasty and the ginkgo tree is found in various literature.

• Journal of Korean Philosophical Society
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• v.139
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• pp.213-238
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• 2016

This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.199-206
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• 2021

The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

• Journal of The Korean Dental Society of Anesthesiology
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• v.12 no.2
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• pp.105-109
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• 2012

The gag reflex is a physiological reaction, but, an exaggerated gag reflex can be a severe limitation not only to treat dental caries but also to do oral exam. Procedures such as surface anesthesia of the palate and pharyngeral area, sedation, or general anesthesia can be options as behavioral management. But, there are no golden rule for the sever gag reflex patients. We present a case report of propofol intravenous sedation using TCI pump for simple dental treatment. A 44-year-old man, who had past history of general anesthesia for dental treatment because of severe gag reflex, was scheduled intravenous sedation for simple dental treatment. After 8 hour fasting he entered the clinic for persons with disabilities. We explained about intravenous deep sedation and got informed consent. First, we kept intravenous catheter (22G) in the arm and started monitoring ECG, non-invasive blood pressure, pulse oximetry and end-tidal $CO_2$ through nasal cannula. We started propofol infusion with TCI pump at the target concentration of 3 mcg/ml. The patient became sedated, but he showed involuntary movement during dental treatment, so we increased the target concentration to 4 mcg/ml. We finished the dental treatment without complications during 30 min. And after 40 min recovery room stay he was discharged without any complications.

• Trans-
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• v.3
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• pp.87-107
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• 2017

In this paper, we tried to find out what is the cinematographic reality conceived by André Bazin. To this end, we examined the process of his long exploration of realism, focusing on his film criticism. Through this, we read his deep concern that the film medium, which is more imitative than any other medium, would not become artistic but rather stimulating mimicry. When photographs or movies first appear, people have been interested in saving money by simply storing scenes in front of them or imitating stimulating scenes before realizing their artistic value. In this way, Bazin warned us that when the cheap pleasure derived from the simple imitation of fact is concatenated with the logic of capitalism, the film falls into a subordinate medium and drops the value of human beings indescribably. He therefore argues that cinema must transcend simple imitative dimensions by exploiting various abstract expressions in its own language. His works about the realism in cinema is meaningful in that the value of true realism of the movie is important to build up humanism today in respect that the movie raises extensively the logic of capitalism through visual pleasure.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.381-389
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• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.