• Journal of Science of Art and Design
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• v.11
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• pp.5-35
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• 2007

When it comes to art, the two conflicting themes of 'scientific progress' and the 'nature' have often motivated the advent of the new mode of arts. By the late 20th century, uniform and simplified mode of arts, inspired by scientific and technological progress of that time, was gradually disillusioned by the contemporaries due to the adverse effect of science on human life. In this context, naturalism pursuing for harmony of human and the nature came up as an alternative to those living in the 21st century. The pendulum has swung from minimalism to naturalism. Though the quantitative improvement of human life cannot be denied, the uprise of such problems as environmental pollution and exhaustion of natural resources degraded the quality of human life, which, eventually, shifted the attention to the theme - 'revival of naturality.' Therefore, this thesis intends to represent the modem interpretation of the 'revival of naturality' by applying the major expressions of Art Nouveau that also emphasized naturalism. Art Nouveau found its motifs from organic figures of natural beings and put them to designs of decorative arts. This carries a historical significance in that Art Nouveau boldly revolutionized historicism, which only repeated adoption and modification of the existing modes of arts, and opened it to the modem design with new attempts to practical applications of the arts. Art Nouveau, which means 'new art', prospered from the late 19th century to the early 20th century, and even after one century, it is highly appreciated, reviving as novel and vivid forms in this contemporary art. Art Nouveau based on naturalism has revisited our contemporary period when naturalism and feminized romanticism came into fashion and its common motifs revive in different jenre of arts such as fashion, furniture, glass works, and jewelry works. This study illustrates and analyzes the works of four major artists who gave a specific attention to botanical motifs of Art Nouveau and applies decorative beauty of highly sophisticated and organic curved lines and the expressional forms of botanical figures to design. Art Nouveau proved this; the nature herself is as beautiful as she can be. Within Art Nouveau, the true humanism can be revitalized with the 'revival of naturality'. This study rediscovered the boundless potential of modern interpretation and application of Art Nouveau in decorative art and design.

• (The) Research of the performance art and culture
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• no.35
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• pp.471-508
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• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• Journal of the Korean earth science society
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• v.21 no.1
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• pp.59-66
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• 2000

In Kyeongsang basin, there were very dynamic magmatic activities, resulting to form volcanic and plutonic rocks. A plutonic recycle appeared in this region. Presumption of the pressure for hornblende-bearing granitic rock among the plutonic rocks, can support important informations for the emplacement depth of Cretaceous Bulgugsa granites in Kyeongsang basin. $Al^T$(Al total) contents of hornblende is related to the pressure, oxygen fugacity, and compositions of other minerals having the solid solution. So we apply the $Al^T$ content of hornblende to several empirical and experimental geobarometer systems to presume the pressure and to determine the emplacement depth of Cretaceous Bulgugsa granites in Kyeongsang basin from the inferred pressure. With the result that we applied the $Al^T$ contents of hornblende to the various geobarometers, there was a positive relationship between the pressure and $Al^T$. The minimum pressure value ranges from 0.73 to 1.70kbar in Kyeongju and the maximum value from 2.02 to 3.16kbar in Kimhae. And then the tectonic setting in Kyeongsang basin has no relation to the emplacement depth of Cretaceous granites and means variations with the movement of vertical component in each area. As we suppose that the density of earth's crust is $2.8g/cm^3$, the average values of the emplacement depth ranges in each area range from 2.6 to 11.4km. These data confirm the previous idea about the emplacement depth of Cretaceous granites in Kyeongsang basin, and these geobarometers using the $Al^T$ contents of hornblende is available though they have much limits. Therefore Cretaceous Bulgugsa granites in Kyeongsang basin was the shallow depth intrusive rut and the exposed granites was the shallow depth crust.

• The Korean Journal of Pharmacology
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• v.25 no.1
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• pp.43-51
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• 1989

Responsiveness of muscarinic and alpha adrenoceptor activation on endothelial cells was studied in isolated canine renal artery rings. Ach (10-100 nM), dose dependently, relaxes endothelial intact rings precontracted with phenylephrine ($IC_{50}$ of Ach was 34.5 nM). Selective mechanical destruction of the endothelium transformed the activity of this substance from vasodilatation to vasoconstriction. Acetylcholine induced relaxations could be selectively inhibited competitively by atropine, but could not be inhibited by cyclooxygenase inhibitor. Methylene blue, however, an inhibitor of soluble guanylate cyclase activity, inhibited Ach as well as sodium nitroprusside (SNP) induced relaxation. Relaxation produced by prostacyclin was not modified by methylene blue. On the other hand, alpha adrenoceptor agonist did not relax but contract canine renal artery rings possessing an intact intima precontracted with U-46619. Clonidine, however, selective alpha-2 adrenergic agonist, is more susceptible than phenylepherine, selective alpha-1 adrenergic agonist, to the inhibitory effect of contraction. These results suggest that in canine renal artery rings, 1) muscarinic receptor is responsible for releasing endothelium dependent relaxation factor (EDRF). 2) alpha-1 and alpha-2 adrenergic receptors are present in canine renal artery. 3) relaxation via EDRF is antagonized by methylene blue, providing further evidence that EDRF acts through a cGMP mechanism.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Journal of Ginseng Culture
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• v.2
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• pp.71-83
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• 2020

College students are the potential income classes preparing for income activities and are the main consumers of the future that are very important. In order to understand the current state of ginseng-related consumption culture of young consumers, this study wanted to examine university students' attitudes toward ginseng-related products and services in the future, and to find out their purchasing status, satisfaction, and intent to purchase them. In doing so, we looked at the relative influence of the relevant variables that affect the intent of the purchase. As a result, the variables that affect college student consumers' intention to purchase ginseng-related products were shown in the order of their reliability, economy, purchasing experience, subjective interest, monthly income, monthly allowance, pride in ginseng, and age. Of these, most of the variables had positive effects, but the average monthly income, monthly allowance, and age had negative effects. In other words, the higher the reliability, economy, and self-esteem of ginseng, the higher the willingness to buy ginseng, the higher the subjective interest in ginseng, the higher the age, the lower the monthly allowance, and the lower the income, the lower the willingness to buy ginseng. To promote college students' consumption of ginseng products, it is necessary to cut prices for the younger generation, enhance the quality of the products for the younger generation, improve the taste to overcome the negative aspects of rejecting the bitter and bitter taste, and, above all, induce consumers' attention. It is also necessary to expand accessibility through the development of convenient and easy-to-eat products for young people and the expansion of sales outlets. Recently, young consumers are interested in new products they have never experienced before, products that are good to certify because of their unique design or packaging, and retro products that stimulate nostalgia in the past, so they need to promote and provide information related to consumption of ginseng products in this regard. Considering the practicality and convenience of consumers, we propose consideration of personal consumers' taste curation services, which reflect their preference for products that are convenient to carry with them in line with various living environments, and can have synergy with other products.

• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.

• 한국노년학
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• v.31 no.3
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• pp.591-606
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• 2011

The purpose of this study was to propose basis data to nursing intervention development in order to raise the professional consciousness of long-term care workers grasping influence factor and professional consciousness. The subjects were about 185 long-term care workers at D megalopolis and 4 cities of 3 provinces from November to December, 2009. The data were analyzed using the SPSS program for descriptive statistics, t-test, ANOVA, Pearson's correlation coefficients and multiple regression. The correlated factors of professional consciousness included self-efficacy(r=.420, p=.000), sense of the calling(r=.636, p=.000), education training effectiveness(r=.441, p=.000), internal locus control(r=.378, p=.000), and external locus control(r=-.356, p=.000). Factors influencing of professional consciousness of them were to show in order of sense of the calling(B=.329, p=.000), education training effectiveness(B=.250, p=.000), internal locus control(B=.216, p=.000), external locus control (B=-.165, p=.002), consideration and opplicable job choose characteristic(B=.207, p=.004), these variables accounted for 57.5% of the variance of professional consciousness. Further research needs to develop well organized educational program, training of enhancing internal locus control, and clear examination about roles and tasks of long-term care workers. Also, it suggests education and research that can enhance professional consciousness by utilizing these factors.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.