• The Korean Journal of Air & Space Law and Policy
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• v.30 no.2
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• pp.249-277
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• 2015

Regulation (EC) No 261/2004 ("Regulation") is a common rule on compensation and assistance to passengers in the event of denied boarding and of cancellation or long delay of flights. In some recent cases of European nations, passengers sued the air carrier in order to obtain monetary compensation under Article 7(1) of the Regulation. Some courts dismissed the actions on the grounds that, unlike denied boarding or cancellation of the flight, the Regulation provides no compensation in relation to delayed flights. However, Court of Justice of the European Union(CJEU) ruled that Regulation 261/2004 must be interpreted to mean that passengers whose flights are delayed have a right to compensation in cases when the loss of time is equivalent to, or is in excess of three hours - where the passengers eventually reached their final destination three hours or more later than the originally scheduled arrival time. It is true that a strict interpretation of the regulation would suggest that passengers whose flight has merely been delayed are not entitled to compensation. They should only be offered assistance in accordance with the Articles 6 and 9. Nevertheless, the Court recognized the same right to the same compensation for passengers of flights delayed by more than three hours as that explicitly provided for passengers of cancelled flights. On the one hand, the Court bases this ruling on the recitals of the Regulation, in which the legislature links the question of compensation to that of a long delay, while indicating that the Regulations seek to ensure a high level of protection for passengers regardless of whether they are denied boarding or their flight is cancelled or delayed. On the other hand, the Court interprets the relevant provisions of the Regulation in light of the general principle of equal treatment. Furthermore, the Court delivered a ruling that the loss of time inherent in a flight delay, which constitutes an inconvenience within the intention of Regulation No 261/2004 and which cannot be categorized as 'damage occasioned by delay' within the meaning of Article 19 of the Montreal Convention, cannot come within the scope of Article 29 of that convention. Consequently, under this view, the obligation under Regulation No 261/2004 intended to compensate passengers whose flights are subject to a long delay is in line with Article 29 of the Montreal Convention. Although the above interpretation of the Court can be a analogical interpretation, the progressive attitude of the Regulation and the view of Court forward to protect passengers' interest is a leading role in the area of international air passenger transportation. Hopefully, after the model of the positive support in Europe, Korea can establish a concrete rule for protecting passengers' right and interest.

• Progress in Medical Physics
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• v.12 no.2
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• pp.113-124
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• 2001

For veterinary imaging diagnosis, we obtained MR images of the canine brain, spine, kidney and pelvis from 3T MRI system which was equipped with the world first 3T active shield magnet. Spin echo (SE) and fast Spin Echo (FSE) images were obtained from the canine brain, spine, kidney and pelvis of normal and sick dogs using a homemade birdcage and transverse electromagnetic (TEM) resonators operating in quadrature and tuned to 128 MHz. In addition, we employed a homemade saddle shaped RF coil. Typical common acquisition parameters were as follows: matrix=512$\times$512, field of view (FOV)=20cm, slice thickness=3 w, number of excitations (NEX)=1. For T1-weighted MR images, we used TR=500 ms, TE=10 or 17.4 ms. For T2-weighted MR images, we used TR=4000 ms, TE=108 ms. Signal to noise ratio (SNR) of 3T system was measured 2.7 times greater than that of prevalent 1.57 system. The high resolution images acquired in this study represent more than a 4-fold increase in in-plane resolution relative to conventional images obtained with a 20 cm field of view and a 5 mm slice thickness. MR images obtained from 3T system revealed numerous small venous structures throughout the image plane and provided reasonable delineation between gray and white matter The present results demonstrate that the MR images from 3T system could provide better diagnostic quality of resolution and sensitivity than those of 1.5T system. The elevated SNR observed in the 3T high field magnetic resonance imaging can be utilized to acquire images with a level of resolution approaching the microscopic structural level under in vivo conditions. These images represent a significant advance in our ability to examine small anatomical features with noninvasive imaging methods. Moreover, MRI technique could begin to apply for veterinary medicine in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Tuberculosis and Respiratory Diseases
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• v.41 no.3
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• pp.262-269
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• 1994

Background : A clinical study was carried out on 153 new cases with small cell lung cancer registered at Presbyterian Medical Center, Chonju during the 7 years from 1986 to 1992. They were analyzed by sex and age distribution, symptoms and signs, classification of stage and site and its treatments. Especially, an effort was made to compare the overall survival time between limited stage and extensive stage. Methods : Among 806 lung cancer patients diagnosed by biopsy or cytologic evaluation for the 7 years, 153 patients was shown small cell lung cancer. These 153 cases was analyzed retrospectivery through patient's records, letters or telephones. Results : The results of evaluation of small cell lung cancer are as follows. Over 85 percent of the small cell lung cancer patients were over 50 years of age and prominent clinical features were cough(86.3%), sputum(75.8%) and dyspnea(54.9%). One hundred and five patients(68.7%) was staged to have limited stage. Mean survival time of the chemotherapy and chemoradiotherapy in limited stage has significant difference and its survivals are 5.3 months and 15.0 months. Patients whose disease was staged as limited, regardless of whether or not chemotherapy was administered, had a median survival time of 10.9 months, compared with 4.8 months for those with extensive stage. Conclusion : Lung cancer is one of the malignant diseases tend to increase gradually in Korea and proven to be the most common cancer next to the gastric cancer among various cancers in males found at the Presbyterian Medical Center in the past seven years. This report is a retrospective view of the clinical therapeutic results of the small cell lung cancer patients. Especially at the limited stage, the combined therapy revealed higher survival rate than the chemotherapy alone. For a more accurate evaluation. a prospective view, without any bias, of patients selected at random is needed.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.297-328
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• 2021

This paper aims to find out from what perspective Joseon Dynasty Confucian scholars evaluated and understood Yang Xiong's guiding principles and literature at the micro level and to reveal the academic trends of Joseon Dynasty Confucian scholars. This topic is approached as follows: first, an evaluation of Yang Xiong's way of living as a 'senior state official of Wang Mang (the controversial Emperor of the short-lived Xin Dynasty)'; second, Yang Xiong's literary character and his literary works; third, Yang Xiong's writing style; and fourth, Yang Xiong's view of good and evil. These can be summarized in three main ways: One is to agree with Zhu Xi's criticism of Yang Xiong as a 'senior state official of Wang Mang' and dismiss his guiding principles, academic achievements, literature, and other accomplishments. Most of these negatives have been found in Confucian scholars who are especially enthusiastic about theology. Examples include Hong Jikpil, Wi Baekgyu, Kim Wonhaeng, and Lee Sangjeong. In the case of kings such as King Yeong-Jo, the assessment of Yang Xiong is quite similar. The following assessments of Yang Xiong are positive though. Positive assessments are presented from two different views. One is a balanced approach that covers both the positive and negative aspects of Yang Xiong. For example, Heo-Kyun's understanding. Another positive view can be analyzed from three perspectives. The first case is when the scholars assessing Yang Xiong were not deeply influenced by Zhu Xi's criticism of him. Seo Geojeong and Seong-Hyeon are examples. The second case are those that broke away from theology or adhered to Silhak [Practical Studies]. Yi-Ik is an example. Third, assessments from scholars who posited that truth was of a pluralistic nature. Jang-Yu is an example of such scholars. Regarding theories of human nature; however, there was consensus among Confucian scholars that Mengzi held that human nature is good, and thereby it was common to criticize Yang Xiong's theory that human nature was a mixture of good and evil. From an ideal micro perspective, Joseon Dynasty Confucian scholars' different assessments of Yang Xiong show that their understanding and evaluation of Yang Xiong differed in accordance with their own differing worldviews and ideas.

• The Journal of Korean Philosophical History
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• no.27
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• pp.197-222
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• 2009

The Reform Movement(戊戌變法) of 1898 was a boundary tablet of modern history of science and technology which inherited the past and ushered in the future. Kang Youwei(康有爲), as a leader, his scientific thoughts opened up the way of Chinese enlightenity campaign and pushed the development of Chinese modem science and had an important position in modem history of scientific thoughts. The dissertation analyses the source, establishment and content of Kang Youwei. Kang Youwei developed the useful and discarded the useless of the view of implement science held by the Westernized Party, undertook a deep and throughout thinking on the nature of science, had cognition of scientific methods and spirit, by which he criticized negative proneness of ancient Chinese views of science. He put forwards a series of practical suggestions on political reform that provided a solid guarantee and support in system for scientific development. Kang Youwei rooted in the soil of Chinese traditional academic culture, but also western learning in modern western civilization. Kang go through Westernization Movement since the in-depth study of Western natural and inevitable outcome of the social sciences, are giving to science and technology. Although he was originally of Western "science" has a lot of misunderstandings and prejudices, but these shallow hazy perceptual knowledge, his view of science which constitutes the basis of the formation. In the course of scientific inquiry, Kang has begun to explore the essence of scientific development. He has a gut feeling that behind the scientific discovery of the existence of a force, which is the scientific truth and is used to grasp the scientific method. After contact with the Western world, with the traditional "Heaven(天)", and modern Chinese intellectuals began to "axiom(公理)" to recover his traditional "Heaven" of the new understanding is reflected mainly in "Zhutianjiang(諸天講)". "Zhutianjiang" is the Kang Yuwei in the absorption of traditional astronomy knowledge base, will the traditional arithmetic, as well as Buddhism and the West since the twentieth century, new knowledge of astronomy combines written. Kang while recognizing that scientific instruments, is nothing more than an extension of the role of the human senses and make the "Dao(道)" is more clear, but the "artifacts(器物)" caused by the inherent limitations of the limited nature of human knowledge, which is "Heaven" boundless nature of the broad terms, refused to concede defeat to. In reality, the activities of political reform, he gradually recognize this real-world helpless, and he recognized that the real world to achieve common ground of social ideal is impossible, so he chose comfort in life that people really get a stage of "Tianyou(天遊)". This is the cause that his writing "Datongshu(大同書)", at the same time, followed by writing "Zhutianjiang" talk "Tianyou".

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.13 no.1
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• pp.117-128
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• 2002

Objectives：For the purpose of obtaining the more vivid present status and prevention program of teenage pregnancy, this survey was done by Obstetricians, as study subject, who manage the pregnant teenager in real clinical situation. Methods：Structured survey form about teenage pregnancy was sent to 2,800 obstetricians. That form contained frequency, characteristics, decision making processes, and psychiatric aspects of the teenage pregnancy. 349 obstetricians replied that survey form and we analysed these datas. Results：(1) The trend of teenage pregnancy was mildly increased. (2) The most common cases were unwanted pregnancy by continuing sexual relationship with boyfriends rather than by forced, accidental sexual relationship with multiple partners. (3) The most common reason of labor was loss the time of artificial abotion. (4) Problems of pregnant girls' were conduct behaviors and poor informations about contraception rather than sexual abuse or mental retardation. (5) Most obstetricians percepted the necessity of psychiatric consultation, however psychiatric consultation was rare due to parents refusal and abscense of available psychiatric facility. (6) For the prevention of teenage pregnancy, the most important thing was practical education about contraception. Conclusions：Based on the result of this study, further study using structured interview schedule with pregnant girl is needed for the detecting risk factor of teenage pregnancy and effective systematic approach to pregnant girl.

• Sijohaknonchong
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• v.21
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• pp.143-164
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• 2004

The purpose of this study is to clarify that 'Kanghosasiga' is the Ynsijo which has general unification of the content and having general unification is based. on the using one definite frame. although 'Kanghosasiga' used different subject matters that have characteristics of four season in forming one theme. The definite frame is divided into two frames, inner frame and outer frame. Outer frame is common in four works, and it represents the place in which the speaker lives(강호), speaker (이몸), relationship between speaker and the king(군은), the condition of 'kangho' and speaker. And in this paper, the generative condition of phrases is so analyzed that the compression and the simplicity of expression are explained, and the purpose of generative phrases is so analyzed that satisfaction at life is represented. It is considered if it is possible to extended to '태평성대(the happy era)' in the social view. Inner frame is the detail structure of content of the work. Each of the first, second, third of the verses of four works have common structure. After analyzing each content, the characteristic of 'Kanghosasiga' was explained. The first of verses of 'Kanghosasiga' represent gusto of the four season. The second is constructed with 'the clause that functions as instruction' because 'speaker' that is the words that functions as index, and represents in detail gusto of the first. The third is connotative expression connected with the second. The third implies purpose that the writer try to gain private living with formal viewpoint. The structure of the inner frame of 'Kanghosasiga' shows a process; 'introducing season' $\to$ 'gusto about season' $\to$ 'enjoying with season' $\to$ 'peace in mind'. The first of verses of 'Kanghosasiga' is the clue of the second. The second is the reaction of the first. The third has character as estimation of the forepart. The structure of the outer frame can be shown if the structure of the inner frame has '감군은‘(being grateful to king's grace). ultimate purpose of the writer is to praise king's administration.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.