• Journal for History of Mathematics
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• v.19 no.4
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• pp.63-80
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• 2006

Along with natural and algebraic languages, schema is a fundamental component of mathematical language. The principal purpose of this present study is to focus on this point in detail. Schema was already in use during Pythagoras' lifetime for making geometrical inferences. It was no different in the case of Oriental mathematics, where traces have been found from time to time in ancient Chinese documents. In schma an idea is transformed into something conceptual through the use of perceptive images. It's heuristic value lies in that it facilitates problem solution by appealing directly to intuition. Furthermore, introducing schema is very effective from an educational point of view. However we should keep in mind that proof is not replaceable by it. In this study, various schemata will be presented from a diachronic point of view, We will show with emaples from the theory of categories, Feynman's diagram, and argand's plane, that schema is an indispensable tool for constructing new knowledge.

• Education of Primary School Mathematics
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• v.14 no.2
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• pp.103-116
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• 2011

'The nine chapters on the mathematical art' has dominated the history of Chinese mathematics. It contains 246 problems and their solutions, which fall into nine categories that are firmly based on practical needs. But it has been greatly by improved by the commentary given Liu Hui and it was transformed from arithmetic text to mathematics. The improved book served as important textbook in China but also the East Asian countries for the past 2000 years. Also It is comparable in significance to Euclid's Elements in the West. In the middle of 19th century, Chosun mathematicians Nam Byung Gil(南秉吉) and Lee Sang Hyuk(李尙爀) studied mathematical structures developed in Song(宋) and Yuan(元) eras on top of their early on 'The nine chapters' and 'ShuLiJingYun(數理精蘊)'. Their studies gave rise to a momentum for a prominent development of Choson mathematics in the century. Nam Byung Gil is also commentator on 'The Nine Chapters'. His commentary is 'GuJangSulHae(九章術解)'. This book provides figures and explanations of how the algorithms work. These are very helpful for prospective elementary teachers. We try to plan programs of elementary teacher education on the basis of 'The Nine Chapters' and 'GuJangSulHae'.

• Journal of Breast Cancer
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• v.21 no.4
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• pp.391-398
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• 2018

Purpose: The aim of this study was to investigate the association of telomere length with breast cancer risk. We simultaneously explored the association between telomerase reverse transcriptase gene polymorphisms and telomere length. Methods: We used real-time quantitative polymerase chain reaction to measure relative telomere length (RTL) in genomic DNA extracted from peripheral blood from 183 breast cancer cases and 191 healthy controls. Genotyping was performed using the Sequenom MassARRAY platform. Results: Our results show that breast cancer patients had significantly shorter RTLs than control subjects (p<0.05). When the RTLs were categorized into tertiles, we found that the lowest RTL was significantly associated with increased breast cancer risk compared with the highest RTL (odds ratio [OR], 2.33; 95% confidence interval [CI], 1.40-3.90; p=0.001). Subgroup analyses indicated that risk of breast cancer was also significantly increased in the lowest RTL compared with the highest RTL in age >40 years (OR, 2.41; 95% CI, 1.31-4.43;p=0.005), body mass index ${\leq}24kg/m^2$ (OR, 2.81; 95% CI, 1.55-5.10; p=0.001), and postmenopausal women (OR, 3.94; 95% CI, 1.63-9.51; p=0.002), respectively. In addition, individuals with the AA genotype of rs2853677 have longer telomeres than those of breast cancer patients with the AG genotype (p=0.011). Conclusion: Our results suggest that shorter RTL was associated with an increased risk of breast cancer. An association was found between the AA genotype of rs2853677 and longer RTLs in the case group. Functional studies are warranted to validate this association and further investigate our findings.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.573-585
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• 2023

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• Journal of the Korean Society of Food Culture
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• v.9 no.2
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• pp.111-118
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• 1994

The purpose of this study was to understand dietaty culture of the Buddhist priesthood in Seoul and Kyungnam. This survey was carried out through questionnaries and the subjects were 26 temples and hermitages. The results of this study can be summarized as follow: 1. Most of the Buddhist priesthood takes meal three times for a day regularly. The substitution food was used mainly rice gruel, fruits, powder of roasted grain, kinds of cookie and confectionary, kinds of steamed dish and milk. 2. The seasoning substances were used necessarily soy sauce, soybean paste, salt and sesame, sesame oil, vegetable oil, and used rarely Jepi powder, red powder, chinese pepper and M.S.G. 3. Eating table was used chiefly for Buddhist priethood and a vistor, and tea and cookie, D'ock, noodle were used often. Event and party foods of temple were used Bibimbab, Ogokbab, Yagbab, D'ockguk, soybean of noodle. 4. Offering food to Buddha was used to Five-offered to Buddha(香, 燈, 茶, 果, 米) primarily and religious food was used scarcely. 5. Special food was used D'ock, hand made cookie and confectionaries, kinds of chinish medicine tea and pine needle tea. Injulmi and Julpyun were prepared most frequently, and used to mixed rice flour with mugwort now and then. Coating and filling powders for D'ock were used to red bean, mung bean and soy bean. Kinds of hand made cookie were Yagkwa, Kangjeong, Dasik, Jungkwa and Yangeng. Beverages were thick hot beverage, kinds of leaf tea, chilled beverage, Yaksu mixed with soy sauce and bamboo salt, kinds of chinese medicine tea, milk and milk products and pine needles tea. 6. Preserved foods were used edible mountain herbs and seaweeds in drying and frying.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of the Korean Society of Costume
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• v.17
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• Journal of the Korea Society of Computer and Information
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• v.26 no.6
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• pp.173-181
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• 2021

Chinese people have increasingly high interests in skin care and trust and prefer medical institution products and equipment to treat skin problems. The purpose of this study is to examine skin types and skin care situations, skin care recognition, and skin care satisfaction by gender in medical skin care center patients from in their 10s to 50s in Hainan Province, China. The questionnaire survey consisted of general characteristics(n=8), skin care situations(n=6), skin care recognition(n=11), and skin care satisfaction(n=21). A total of 328 questionnaires were researched from December 21, 2020 to January 9, 2021 using WeChat and Wenjuanxing program. Data were analyzed by SPSSWIN 21.0. Frequency analysis was applied for general characteristics, skin care situations, skin care recognition, and skin care satisfaction and Cronbach's α was used for the reliability of skin care recognition and satisfaction. The relationship among skin care situations, skin care recognition, and skin care satisfaction was analyzed by χ² test and t-test. As a result, the common skin types by gender was dry skin in females and oily skin in males. The highest skin trouble was melasma and pigments in females and pimple in males. The most common way to manage troubled skin was homecare in both females and males, followed by the dermatology department in females and pharmacy in males, suggesting a significant difference. The common period of skin trouble was from one year to three years and the most effective way to improve skin was good life habit, followed by laser treatment in both females and males. The most important consideration to choose a hospital was a famous franchise hospital and the most important matters in management was doctor or skin care professionalism. Skin care and treatment recognition was high in external effects for females and internal effects for males. Skin care satisfaction was high in service for females and effect for males. Skin care satisfaction was significantly higher in males than in females. In conclusion, there was a difference in skin types, skin troubles, skin problems, skin care ways, and skin care satisfaction by gender in Chinese medical skin care center patients. Therefore, this study suggests the development of various products and the need of systematic management programs.

• Sijohaknonchong
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• v.30
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• pp.21-52
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• 2009

This study observed what roles and identity the Taoist Hermits have when they appear in Korean Verse, SiJo, which was preoccupied by the illustrious-officials in Choseon Dynasty. This study has found that languages of Taoist Hermit frequently appear in SiJo, through the historical study documents focusing on only the mountain wizards in terma of the genre, SiJo. Of those terms used by Taoist Hermit, most prominent was 'JeokSongJa', which was expressed as that sought by the illustrious-officials-they were using the sentence, 'I will follow JeokSongJa' to the extent that it is an idiom. This suggests that the illustrious officials in ChoSeon Dynasty meant if one was going to be entitled to become a Taoist Hermit, he should seek 'JeokSongJa' first. We can see those illustrious officials were using the words with a ideological tone, affected by then 'JangRyang' or 'BeomRyo' who were devoting themselves to finding 'JeokSongJa' with a belief that they could become a Taoist Hermit and live forever, which had been handed down as a legend or a myth. Meanwhile, Li Po is a profile who can not considered, separately in the history of Korean Literature. Li Po recited poems, as a great poet and a hard drinker, who were incited in SiJo of those illustrious officials as a intimate person. In contrast, among those who were accepted as a negative profile, were a Chinese Emperor JinSi and HanMuje. These two emperors, who were looking for a herb of eternal youth and Mt. BongRae, figures who had lost their positions in the real political circle. In addition, they couldn't make their dreams to get perennial youth and long life come true, which stimulated the illustrious officials of that time to recite those poems indicating there is no ideal Utopia so it's better be satisfied with the reality living up to the realistic idea of Confucianism. In this sense, those two emperors are negative. There are also women Taoist Hermits present in SiJo, including MaGo nymphs, SeoWangMo, MuSanShinNyo, and Hang-A. MaGo nymphs were grandmothers who superintend the longevity, often incited as a beautiful woman; SeoWangMo was a Toast Hermit who had an elixir of life; MuSanShinNyo is a beautiful woman who was representing the attachment of cloud friendship; and Hang-A is expressed as a goddess who betrayed her husband and as a result staying lonely in the moon palace. These women goddesses were characterized by their beautiful appearances, generous and delicate personalities. widely incited in romantic poems.