• Child Health Nursing Research
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• v.6 no.2
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• pp.144-157
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• 2000

This study was done to understand nonpharmacologic pain management for pediateric patients and nurses' knowledge and attitudes toward it. The aim of this study was that which method did the patient's use according to the nurses' age, and how did they effectively use these methods in their field. The subjects of this study were 77 nurses working in the Pediatric unit in the Kyung Medical Center from September 2 to 15, 1999 using questionnaire form. The results of this study were as follows : 1. We divided the subjects into four groups : Younger than one year old, 1-6 years, 6-12 years, 12-18 years group. In the group younger one year old, most of the nurses participating in this study used speaking in soft quiet tones, supportive touch, toys, pacifiers. In the group of 1-6 years, they used speaking in soft quiet tones, toys, distracting attention, story talking, and visual stimulus. In the group of 6-12 years. they used pop-up books, providing information, cold therapy, speaking in soft quiet tones, supportive touch. In the group of 12-19 years, most of them used providing information, controling respiration and supportive touch. 2. The effective nursing intervention used in their field are speaking in soft quiet tones, pacifiers and nesting with blanket in the group of younger than one year old. Un the group of 1-6 years old, speaking in soft quiet tones, toys, and supportive touch were effective method in the control of nonp-harmacologic pain management. In the group of 6-12 years old, story talking, supportive touch, and speaking in soft quiet tones were effective method and in the group of 12-18 years old, providing information, cold therapy and supportive touch were effectively used to control nonpharmacologic pain management. 3. To compare the general characteristics and non-pharmacologic pain nursing intervention, in the group of younger than one year, touching stimuli is widely used. In the groups of 1-6, and 6-12 years old, visual and audio method were widely used. In the group of 12-18 years old, sensitive intervention were used as well as education, information and guided imagery. In conclusion, there was no significant difference in nurses' demographic characteristics, child's age and nonpharmacologic pain management. There was significant difference only in the nurses working area, that is nurses working in the surgical department used more audio-visual-tactile pain management methods than medical department.

• The Journal of Engineering Geology
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• v.10 no.1
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• pp.51-62
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• 2000

The $CO_2$-richrich water pumps or springs out at two sites (Sinchon and Kohran) consisting of Cretaceous sedimentary rocks in Kyungpook area. The water has been long known as its soda pop-liketaste and therapeutic effect against calcium deficit, stomach and skin troubles, etc. The water arecharacterized by a high $CO_2$ concentration $(P_{CO2}=0.29~l.01 atm)$ and electrical conductance (1,093~2,810$\mu$S/cm). The $CO_2$-rich water belongs to Ca(Na)-$HCO_3$ type in chemical classification. The contents of Ca, Mg, Na, HCO$_3$ and Fe of $CO_2$-rich water show much higher values than those of general groundwater Environmental isotopic data $(^2H/^1H, ^{18}O/^{16}O and ^3H/^1H)$ indicate that the water is ofmeteoric origin recharged after 1950s. The $CO_2$ in the springs seems to be originated from deep-seatedsource related to acidic porphyry and granite nearby sedimentary rocks. Carbonate minerals and albiteare likely to be the major source minerals of the dissoved inorganic constituents in the $CO_2$-rich water.The equilibrium state between major minerals and $CO_2$-rich water was calculated by a thermodynamicprogram.

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• Restorative Dentistry and Endodontics
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• v.28 no.1
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• pp.23-33
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• 2003

The purpose of this study was to compare in vitro interfacial relationship of restorations bonded with three self-etching primer adhesives and one self-etching adhesive. Class I cavity preparations were prepared on twenty extracted human molars. Prepared teeth were divided into four groups and restored with four adhesives and composites Clearfil SE $Bond/Clearfil^{TM}$ AP-X (SE), UniFil $Bond/UniFil^{\circledR}$ F (UF), FL $Bond/Filtek^{TM}$ Z 250 (FL) and Prompt $L-Pop/Filtek^{TM}$ Z 250 (LP) After storing in distilled water of room temperature for 24 hours, the specimens were vertically sectioned and decalcified. Morphological patterns between the enamel/dentin and adhesives were observed under SEM. The results of this study were as follows : 1. They showed close adaptation between enamel and SE, UF and FL except for LP. 2. The hybrid layer in dentin was $2{\;}\mu\textrm{m}$ thick in SE, $1.5{\;}\mu\textrm{m}$ thick in UF, and $0.4{\;}\mu\textrm{m}$ in both FL and LP. So, the hybrid layers of SE and UF were slightly thicker than that of FL and LP. 3. The lengths and diameters of resin tags in UF and FL were similar, but those of LP were slightly shorter and slenderer than those of SE. 4. The resin tags were long rod shape in SE, and funnel shape in other groups Within the limitations of this study, it was concluded that self-etching primer adhesives showed close adaptation on enamel. In addition, the thickness of hybrid layer ranged from $0.4-1.5{\;}\mu\textrm{m}$ between adhesives and dentin. The resin tags were long rod or funnel shape, and dimension of them was similar or different among adhesives.

• Restorative Dentistry and Endodontics
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• v.30 no.3
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• pp.204-214
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• 2005

This study compared the microtensile bond strength (${\mu}$TBS) and microscopic change of two 2-step and two 1-step self-etching adhesives to dentin according to storage times in distilled water. Occlusal dentin was exposed in 48 human molars. They were divided to four groups by different adhesives: SE Bond group (Clearfil SE Bond), AdheSE group (AdheSE). Adper group (Adper Prompt L-Pop), and Xeno group (Xeno III) . Each group was stored in 37$^{\circ}C$ distilled water for 1, 15, and 30 days. Resin-bonded specimens were sectioned into beams and subjected to ${\mu}$TBS testing with a crosshead speed of 1 mm/minute. For SEM observation, one specimen was selected and sectioned in each group after each stroage time. Resin-dentin interface was observed under FE-SEM. In all storage times, mean ${\mu}$TBS of SE group was significantly higher than those of other groups (p < 0.05). There was no significant difference between mean ${\mu}$TBS of SE group and AdheSE group among all storage times, but significant difference between 1- and 30-day storage in mean y${\mu}$TBS of Adper group and Xeno group (p > 0.05). For 1-and 15-day storage, all groups showed the close adaptation between resin-dentin interfaces. For 30-day storage, resin-dentin interfaces showed wide gap in Adper group and separate pattern in Xeno III group.

• Weed & Turfgrass Science
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• v.4 no.4
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• pp.405-412
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• 2015

Forty schools having natural turf playgrounds were investigated by on-spot investigation and oral interviews with relevant school officials to find out basic information on turfgrass management practices of school playgrounds in Gyeonggi province. Average area of playground was $3,890m^2$ per school and $12m^2$ per student. Ninety five percent of turf playgrounds were managed by school staff and ninety percent of schools spent less than 5 million won per year for turf management. The difficulties in turfgrass management were considered as a major challenge for the schools, followed by turfgrass management cost. Among the management practices, school officials pointed out weed management as the most difficult work, followed by irrigation. The average number of fertilization and mowing was 2 and 6 times per year, respectively. About the half of playgrounds were irrigated only when there was wilting symptom. Zoysiagrass was the most popular choice for the school playgrounds and only three school playgrounds were established with pop-up irrigation system. Fourteen school playgrounds had good turf quality but the rest of school playgrounds had inadequate turf quality requiring minor or full renovation.

• Cartoon and Animation Studies
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• s.41
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• pp.133-152
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• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.

• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.