• Title/Summary/Keyword: Cross-culture

Search Result 1,322, Processing Time 0.027 seconds

Psychometric testing of the Chinese version of the Perinatal Infant Care Social Support tool: a methodological study

  • Feiyan Yi;Sukhee Ahn;Miyeon Park
    • Women's Health Nursing
    • /
    • v.30 no.2
    • /
    • pp.128-139
    • /
    • 2024
  • Purpose: This study aimed to translate the Perinatal Infant Care Social Support (PICSS) instrument into Chinese and to verify the reliability and validity of the translated version. Methods: This study used a cross-sectional design to examine the reliability and validity of the Chinese version of the PICSS (C-PICSS). A cohort of 150 first-time mothers in China participated, attending hospital follow-up care at 6 weeks postpartum. Data were collected after obtaining informed consent from the mothers. Results: The majority of mothers were aged between 20 and 29 years, with a mean age of 26.25 (±3.90) years. An item analysis of the 19 items in the C-PICSS showed that all items had an item-total score correlation above 0.2. This resulted in a Kaiser-Meyer-Olkin value of 0.92 and a significant Bartlett's test of sphericity (χ2=1,778.65, p<.001), confirming the suitability of the data for factor analysis. Correlation analyses revealed a strong positive relationship between infant care social support and general social support (r=.62, p<.001), and a negative relationship between infant care social support and postpartum depression (r=-. 38, p<.001). Higher scores for infant care social support were associated with reporting positive relationships with their husbands (t=3.72, p<.001) and high levels of spousal involvement (t=4.09, p<.001). In terms of structural support, spouses were identified as the primary source. Conclusion: The research results indicate that C-PICSS is reliable and valid as an indicator of social support for infant care among Chinese mothers.

Rapid Extraction of DNA using Ion Exchange Resin for Early Detection of Mycobacterium tuberculosis by the Polymerase Chain Reaction (결핵균 PCR에서 이온교환수지를 이용한 신속한 DNA 분리)

  • Kim, Cheol-Min;Park, Seung-Kyu;Shon, Mal-Hyun;Song, Sun-Dae;Kim, Young;Jun, Eun-Sook;Son, Han-Chul;Jung, Byung-Sun
    • Tuberculosis and Respiratory Diseases
    • /
    • v.43 no.1
    • /
    • pp.30-37
    • /
    • 1996
  • Background: The extraction methods of DNA from clinical samples are the major obstacle to use the PCR(polymerase Chain Reaction) in routine labortary for early detection of M. tuberculosis. We tried to improve the extraction method of DNA from sputum for establishment of the PCR in routine labortary by reducing the possibility of cross contamination and performing it easily and safely. Methods: We used the $InstaGene^{TM}$ DNA extraction kit(BioRad Co.) using Chelex 100 ion exchange resin for preparation of DNA. We compared InstaGene method in 100 cases of sputum from proteinase K method which is known as the most commonly used method for DNA purification(Experiment 1). And we compared InstaGene method in 98 cases of sputum from Microwave method developed by a company in Korea(Experiment 2). In experiment 1,245bps of IS6110 were amplified and then 188bps were amplified by nested PCR. In experiment 2,536bps in primary PCR and 276bps in nested PCR were amplified and analysed by agarose gel electrophoresis and EtBr staining. Results: When we chose AFB smear, culture, or AFB smear and culture as a standard test, PCR had low specificity and positive predictive value in both experiments. The InstaGene method has higher value in sensitivity and negative predictive value significantly than proteinase K method. The InstaGene method and the Microwave methods were similar in sensitivity, specificity, positive predictive value and negative predictive value. Conclusion: Even though both methods had lower possibility of cross contamination, shorter time requirement, simplicity, and economic advantages than Proteinase K method, the InstaGene method was a little simpler than the Microwave method. Therefore, in terms of usefulness in clinical application, the Instagene method seems to be the most useful method in DNA extraction for detection of M. tuberculosis using PCR. The reliability of this method will be clarified by further studies with enough clinical samples.

  • PDF

Optimum Stocking Density of 3-year-old Pacific Abalone, Haliotis discus hannai Reared in Net Cage Culture (3년산 북방전복, Haliotis discus hannai의 해상가두리 양성 시 적정 수용밀도)

  • Lee, Si-Woo;Kim, Byeong-Hak;Kim, Tae-Ik;Son, Maeng-Hyun
    • The Korean Journal of Malacology
    • /
    • v.31 no.2
    • /
    • pp.93-101
    • /
    • 2015
  • The effects of different stocking densities on the growth and survival rate of the 3-year-old pacific abalone, Haliotis dicus hannai were investigated in marine net cage for a year. Stocking densities in net cage ($2.4{\times}1.2m$) was set 15, 30, 45 and 60 percentage (= per)/sq m (square meter, $m^2$) with share to cross-sectional area per shelter. The water temperature during the testing period was $8.2^{\circ}C-22.1^{\circ}C$, and salinity is $33.5{\pm}0.6psu$, and dissolved oxygen is $7.87{\pm}0.86mg/L$. In the shell length (initial size : $71.50{\pm}2.28mm$) growth and shell breadth (initial size : $46.43{\pm}2.28mm$) of the test abalones, the absolute growth rate (ARG), daily growth rate (DGR) and specific growth rates (SGR) of the 15 per/sq m and 30 per/sq m were higher than those of 45 per/sq m and 60 per/sq m density group (P < 0.05). Also in the weight (initial weight : $35.7{\pm}8.1g$), it showed the same results. In survival rates, it were that 15 per/sq m and 30 per/sq m is significantly higher than 45 per/sq m and 60 per/sq m. Therefore, it was that the 15 per/sq m is optimized stocking density in marine net cages about the 3-year-old pacific abalone over 70 mm size. The result shown that total cross-sectional area under the shelter is based on 15 per/sq m ($2.4{\times}2.4m$, 354 number in a net cage) is suitable for fast growth and survival. But if the economy consider, optimized stocking density would be appropriate to accept 30 per/sq m ($2.4{\times}2.4m$, 710 number in a net cage).

Installation Art In Indonesian Contemporary Art; A Quest For Medium and Social Spaces (인도네시아 현대미술에 있어서의 설치미술 - 미디엄과 사회적 공간을 위한 탐색)

  • Kusmara, A. Rikrik
    • The Journal of Art Theory & Practice
    • /
    • no.5
    • /
    • pp.217-229
    • /
    • 2007
  • Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

  • PDF

Literary Text and the Cultural Interpretation - A Study of the Model of 「History of Spanish Literature」 (문학텍스트와 문학적 해석 -「스페인 문학사」를 통한 모델 연구)

  • Na, Songjoo
    • Cross-Cultural Studies
    • /
    • v.26
    • /
    • pp.465-485
    • /
    • 2012
  • Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

Recognition and Narrative Aspects of the History of Korean Classic Literature from Two Korean Literature History Works Written in China (중국 한국문학사 2종의 한국고전문학사 인식과 서술 양상: 남북한문학사와 자국문학사의 수용과 변용을 중심으로)

  • Lee, Deung-yearn
    • Cross-Cultural Studies
    • /
    • v.48
    • /
    • pp.67-106
    • /
    • 2017
  • This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

Love and Justice are Compatible ? - In Theory of Paul Ricœur (사랑과 정의, 양립 가능한가 - 폴 리쾨르 이론을 중심으로 -)

  • Lee, Kyung-lae
    • Cross-Cultural Studies
    • /
    • v.52
    • /
    • pp.53-78
    • /
    • 2018
  • In the moral culture of the West, love and justice are two commands with roots in ancient times. One is the heritage of Hebraism, and the other belongs to the tradition of Hebraism and Hellenism. The two concepts are the most important virtues required for preserving stability in society. These two commands are compatible, in an exclusive relationship to each other. To ultimately seek their reconciliation, the precise concept analysis and understanding of each of them should be premised on, due to the multi-layered meaning of implications of the two concepts. To this end, we first have started with a lexical meaning and have done a conceptual analysis of what these two concepts are expressing. We have looked at Paul $Ric{\oe}ur$ in his interpretation of the discourse of love and justice. Finally, we looked at how these two concepts are narrated in literature. Through the literary works of Stendal, Albert Camus, and Dostoevsky, we have seen examples of literary configurations that have been embodied in life. In this way, through conceptual analysis, discourse analysis, and narrative analysis of the two concepts, the following conclusions were drawn. Love and justice were not a matter of choice. We could see coldness and unrealism of a society lacking love or with a problem of unclean love, through Stendhal's and Albert Camus' novels and their actual debate. In addition, in unclean paternalism, risk of the power of love blocking certain a certain touch of justice was also confirmed. So, it was necessary for a healthy future society to explore the possibility of the coexistence of love and justice. We confirmed the possibility of compatibility in a 'considerate balance' wherein the 'moral judgment in situation' is required, as Paul $Ric{\oe}ur$ expressed. This ideal situation may be realized when forms of love involving solidarity, mutual care, and compassion with pain like Dostoevsky are combined with the principle of distributional justice. When Albert Camus pursued justice and eventually faced reality and mentioned the need for mercy, he could have made a moral judgment based on this situation. In the end, love protects justice, and justice contributes to the realization of love. Justice reduces super-ethical love to moral categories, and love plays a role in enabling justice to exert its full force.

The Present Situation and Challenges of the Russian Music Industry: Centered on the Digital Sound Sources (러시아 음악 산업 현황과 과제 - 디지털 음원을 중심으로 -)

  • Kwon, ki-bae;Kim, Se-il
    • Cross-Cultural Studies
    • /
    • v.50
    • /
    • pp.395-424
    • /
    • 2018
  • The purpose of this paper is to examine the current situation and background of the Russian consumer music market, where digital music sources are making great strides in the noted recent years. In addition, music storage technology, media and change are considered together in this report. Moreover, Russia is the 12th largest music market in the world. The Russian music industry is following the recent trend of the global music industry, where the digital music market is growing rapidly on many different levels. The explosive growth of the digital sound sources in Russia's music industry is attributed to the explosive increase in available consumer downloads, streaming sound source service, and the increase in the number of digital sound sources using mobile technologies due to the development of the Internet. In particular, the sales of the available and accessible streaming sound sources are expected to grow explosively by the year 2020, which is expected to account for more than 85% of total digital music sales. In other words, the spread of smartphones and the resulting changes in the lifestyle of the Russians have created these changes for the global consumer of music. In other words, the time has come for anyone to easily access music and listen to music without a separate audio or digital player. And the fact that the Russian government's strong policy on the eradication of illegal copying of music is becoming an effective deterrent, as is also the factor that led to the increase of the share of the digital sound source to increase sales in Russia. Today, the Russian music industry is leading this change through the age and process of simply adapting to the digital age. Music is the most important element of cultural assets, and it is the beneficial content, which drives the overall growth of the digital economy. In addition, if the following five improvements(First, strengthen the consciousness of the Russian people about copyright protection; Second, utilizing the Big Data Internet resources in the digital music industry; Third, to improve the monopoly situation of digital music distributors; Fourth, distribution of fair music revenues; and Fifth, revitalization of a re-investment in the current Russian music industry) are effective and productive, Russia's role and position in the world music market is likely to expand.

The Literary Discourse of Media Published in the Gaebyeoksa and Medium Topography of Colonial Chosun (1930년대 개벽사 발간 잡지의 문예 담론과 식민지 조선의 매체 지형 - 『혜성』(1931~32), 『제일선』(1932~33), 속간 『개벽』(1934~35)을 중심으로 -)

  • Kang, Yong Hoon
    • Cross-Cultural Studies
    • /
    • v.51
    • /
    • pp.291-327
    • /
    • 2018
  • 'Hyesung' and 'Jeilsun' are media that reveal the new searches of the Gaebyeoksa Publishing Company of the 1930s. However, studies in the past did not sufficiently analyze their significance. Furthermore, there are no analyses on how the critical minds of 'Hyesung' and 'Jeilsun' were linked to 'Gaebyeok', which continued publications in 1934. The 1930s when 'Hyesung' and 'Jeilsun' were published, was a time where the media of colonial Chosun was rapidly changing, and it was a time where literary magazines were increasing in quantity. In the 1930s, Gaebyeoksa attempted to actively respond to such changes reflected in the media. This was demonstrated through the publication of the new media 'Hyesung' and 'Jeilsun' and continuing publication of the 'Gaebyeok' magazine in 1935. This study analyzed the literary discourses shown in the magazines published by Gaebyeoksa in the 1930s based on 'Hyesung', 'Jeilsun', and the continued publication of 'Gaebyeok'. Through such analysis, this study examined how the magazines published by Gaebyeoksa perceived the culture and literature of colonial Chosun in the 1930s and in which direction it tried to reorganize this.

Body Images of Korean College Students: Based on a Cross-National Study Focusing on Korean, Chinese, and Japanese College Students. (한국 대학생의 신체이미지: 일본, 중국과의 비교를 토대로)

  • Wan-Suk Gim;Yeon-Jae Ryu
    • Korean Journal of Culture and Social Issue
    • /
    • v.18 no.2
    • /
    • pp.301-327
    • /
    • 2012
  • This study investigated body images based on the survey data drawn from college students in three East Asian countries(Korea, Japan, and China). 347 Korean, 341 Chinese, and 271 Japanese college students responded to questions designed to measure body images such as body-related values (operability, inclination, locus of evaluation, and instrumentality of appearance), body esteem (appearance, and health), and objectified body-consciousness ( surveillance and shame). The results showed that body images differ among countries. Regarding body-related values, Korean students have least conservative beliefs and followed by Japanese, and Chinese. Korean students showed the highest acceptance level for the voluntary body alteration(operability), highest inclination to body appearance over health. They also showed the strongest tendency of evaluating their body from the observer's point of view and the strongest belief about the social utility of body appearance compare to Japanese and Chinese students. Appearance- esteem of Korean was similar to Chinese but higher than Japanese. Surveillance and shame about body appearance of Korean students were similar to Japanese but higher than Chinese. Compare to male students, females showed stronger belief about the body appearance over health, lower appearance esteem, and higher surveillance and shame about body. Korean women showed the least conservative body-related values, and the levels of body appearance esteem and objectified body consciousness were located in between Japanese and Chinese women. Japanese women showed especially low body appearance esteem and highest surveillance and shame. Chinese women showed the most conservative body-related value, the highest appearance-esteem, and the lowest surveillance and shame. It was revealed that the body-related values indirectly affect to appearance-esteem through the mediating role of objectified body consciousness in Chinese and Japanese samples, but that the body-related values had direct effect on appearance-esteem as well in Korean sample.

  • PDF