• Asian Pacific Journal of Cancer Prevention
• /
• v.15 no.21
• /
• pp.9177-9183
• /
• 2014

Polymorphisms of inflammation-related genes have been found to be associated with non-Hodgkin lymphoma (NHL) or some of its subtypes, but only a few relevant data have been reported in China. In this study, the Snapshot method was used to assess genetic variation; a total of 14 single nucleotide polymorphisms (SNPs) for 6 inflammatory factors in 157 NHL cases (64 Uygur ethnic subjects, 93 Han Chinese) and 435 controls (231 Uygur and 204 Han Chinese) were studied from the Xinjiang province of China. Haplotype distribution was estimated using PHASE 2.3 software. Statistical differences in the genotype and haplotype frequencies between case and control groups were also considered and estimated. For the Han population, the geneotype distributions for TNF-${\alpha}rs1800629$, TNF-${\alpha}rs1800630$, IL-6 rs1800795, IL-6 rs1800797, NF-KB1 rs1585215 and TLR-4 rs4986790 showed significant differences between the case and control groups (p<0.05). The TNF-${\alpha}$ gene frequencies of ACG and CCA haplotypes in the cases were higher than in the controls (OR=2.45, 95% CI: 1.55-3.89, p=0.0002, OR=2.53, 95% CI: 1.10-5.80, p=0.029, respectively), and the same findings were detected for TNF-${\beta}$ gene CA haplotype (OR=1.87, 95% CI: 1.21-2.90, p=0.0054). However, for the Uygur population, no such significant differences were detected within the gene-type distribution of the 14 SNPs. The TNF-${\alpha}$ gene frequency of the CCA haplotype between the two groups (OR=1.98, 95% CI: 1.11-3.51, p=0.021) revealed a statistically significant difference. Our results showed that polymorphic variations of inflammation-related genes could be important to the NHL etiology of the Han population, and that these may only have limited influence on the Uygur population.

• The Research Journal of the Costume Culture
• /
• v.6 no.1
• /
• pp.84-93
• /
• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• Lingua Humanitatis
• /
• v.8
• /
• pp.151-173
• /
• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• Journal of the Korean Geographical Society
• /
• v.45 no.1
• /
• pp.165-183
• /
• 2010

For the study of the development of Asia map made by european map makers, one should consider Gog and Magog which existed in the maps for more than 700 years. Gog and Magog are described as an apocalyptic people in the Bible and medieval literature, and they are important elements in medieval mappaemundi and early modem world maps. This study classified representation types of Gog and Magog in old western maps. Maps were classed in to six categories according to the location and ethnic groups which they represent, and they were discussed in cartographic context. The maps until the fourteenth century place Gog and Magog, shut up by Alexander, near Caspian Sea. In the fifteenth century, Gog and Magog were described as Closed Jews in maps. From the sixteenth century they appear in the far northeastern part of Asia and they are named as Amagog or Ung and Mongul. In the mid-seventeenth century, they are located in Eastern Siberia by French cartographers. But with the expansion of geographic knowledge, Gog and Magog disappeared completely in the eighteenth century. In general, God and Magog were represented on the basis of traditional lore rather than on the Bible, and they became one means of mapping others of European community.

• KOMUNHWA
• /
• no.68
• /
• pp.59-75
• /
• 2006

At the beginning of the 21st century with taking a serious view of the harmony between human and nature, and of keeping an ecological balance, China has tried to reduce the gap in economy between rural districts and the urban city, and to carry out the policies for establishing a harmonious socialism through full-scale cooperation and continuous developments. And in order to preserve their traditional culture and to keep the historical legitimacy of People's Republic of China against urgent economical changes since the reform and openness, China has stressed the importance of training patriotic attitude on their cultural heritages. Thus the Chinese museums started to recognize more ad more the importance of social education as well as their functions of preserving the cultural property and of exhibiting it. And with them they have turned their attentions to an Ecomuseum, a new type of a museum. The ecomuseum in China was first established at a remote place between mountains where the ethnic minority inhabited. This was because of the feeling of some crises on culture native to the minority, followed by the process of China's Western Region Development. And it was recognized that they should participate actively in creating the cultural demand of the minority and in establishing a harmonious society with improving economic condition. Therefore in order to activate the ecomuseum it is localized and sinicized little by little through strengthening the management of cultural heritages of the minority.

• Journal of the Korean Society of Costume
• /
• v.24
• /
• pp.121-142
• /
• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.335-361
• /
• 2013

This study examines the ethnoscape of TV dramas on three Korean nationwide television channels from 2005 to 2012 by breaking down how many non-Koreans appear and how they are represented. Among all TV dramas, 6.4% show non-Korean characters of which are generally supportive or small roles. These characters are categorized into four groups: adoration, sympathy, proximity, and other. The adoration group consists mostly of white males from USA or Europe that have professional careers such as medical doctors or lawyers and are positively represented with attractive appearance and nice character. On the other hand, the sympathy group is made up of Southeast, Central Asians and blacks. They are mainly represented as an underprivileged group: females and low-paid workers. In the proximity group are the Japanese and Chinese characters. The Japanese are often represented as rich people that are highly competent or are able to easily cooperate with Koreans. This result shows that Korean TV dramas provide racial and ethnic stereotypes. Though rarely, some dramas represent various lives of foreigners and racial others in Korea. This study contributes to the establishment of sound multiculturalism by analyzing representation of racial others in TV dramas and internalized stereotypes of foreigners in the diverse and multicultural Korean society.

• Archives of Plastic Surgery
• /
• v.40 no.5
• /
• pp.610-615
• /
• 2013

Background Cephalometric analysis is essential for planning treatment in maxillofacial and aesthetic facial surgery. Although photometric analysis of the Korean nose has been attempted in the past, anthropometry of the deeper nasal structures in the same population based on computerized tomography (CT) has not been published. We therefore measured three anthropometric parameters of the nose on CT scans in our clinical series of patients. Methods We conducted the current retrospective study of a total of 100 patients (n=100) who underwent a CT-guided radiological measurement at our institution during a period ranging from January of 2008 to August of 2010. In these patients, we took three anthropometric measurements: the nasofrontal angle, the pyramidal angle, and the linear distance between the nasion and the tip of the nasal bone. Results The mean nasofrontal angle was $131.14^{\circ}$ in the male patients and $140.70^{\circ}$ in the female patients. The mean linear distance between the nasion and the tip of the nasal bone was 21.28 mm and 18.02 mm, respectively. The mean nasal pyramidal angle was $112.89^{\circ}$ and $103.25^{\circ}$ at the level of the nasal root, $117.49^{\circ}$ and $115.60^{\circ}$ at the middle level of the nasal bone, and $127.99^{\circ}$ and $125.04^{\circ}$ at the level of the tip of the nasal bone, respectively. Conclusions In conclusion, our data will be helpful in the preparation of silicone implants for augmentation and/or corrective rhinoplasty in ethnic Korean people.

• Science of Emotion and Sensibility
• /
• v.21 no.1
• /
• pp.99-114
• /
• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• Journal of the Korean Geographical Society
• /
• v.47 no.1
• /
• pp.13-36
• /
• 2012

This paper is to reconsider comprehensively and systematically major issues on transnational immigrants, increased rapidly since the beginning of the 1990s, and their impacts on socio-spatial changes in S. Korea. Foreign immigrants who have moved on the contexts of unevenness of globalization and advancces in transport & telecommunication technology on the global level and of economic development and shortage of cheap and unskilled workers have been distributed unevenly, concentrating on the Capital region and local areas with industrial complexes. Foreign workers seems to have some negative influences on regional economies in the long-term, though positive in the short-term. Domestic people seem to have an ambivalent attitude which accepts necessity of multi-culture, while simultaneously continues to be self-confident on ethnic homogeneity. The Korean government has launched multicultural policies for foreign immigrants by the mid-2000, but still continues some policies with assimilationism and differential exclusionism, marginalizing them socio-spatially, while lacking local government's policy and programmes. In conclusion, in order to resolve these problems and to transfer multicultural societal space of Korea, a geography of transnational migration which promotes especially discourse and policy with authentic multiculturalism, extending roles of local government, and ensuring glocal citizenships.