• Journal of Popular Narrative
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• v.25 no.3
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• pp.41-66
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• 2019

This paper looks at the readers and publishing strategies of paperback romance novels in the the 1980s based on the 'high-teen' concept. The purpose of this article is to examine the meaning the 'high-teen' concepts as expressed in the media through the publication of paperback romance series in the 1980s. Among paperback romance series, this paper was based on pirated/licensed version of novels published by Harlequin, a Canadian publisher, and the magazine media's advertising promotional phrases that were published targeting the same readers. Since the 1970s, mass media have referred to teenagers as high-teens and called them important consumers. High-teen was a term referring to teenagers in school uniforms, mostly girls, and in the 1980s, 'high-teen' was also introduced as a new consumer market, and the publishing market put forward a number of publishing strategies to attract them. The paperback romance, including , has identified 'high-teen' readers as late-teen girls, sensitive consumers for best-sellers/million-sellers, readers with a tendency to read stories of love, and readers that favor American and Western culture. Since the 1980s, the market for paperback romance has been in the recession, but readers have kept the romance genre alive by accepting and localizing the Harlequin series. With the rise of a new form of media called the 'Web Novel', interest in the romance genre is increasing, and we hope this study will serve as a starting point for a variety of discussions with (women) readers about romance reading/enjoyment.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.9-43
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• 2019

Web novels are one of the most actively adapted genre novels under a new medium called the Internet. Research on cultural content implemented on top of digital media is naturally closely related to environmental changes in digital media. The same goes for Web novels sparked by the identity of Web platforms. Especially in the case of web novels, the platform itself that provides them has triggered direct changes in genre code and reading patterns. From this perspective, this thesis wanted to examine the formation process and strategic features of web novels, which became content and products on the web platform environment. First of all, through the formation process ranging from communication novels to Internet novels and web novels, I arranged the transition to digital media and the change of genre novel market. This was an attempt to extract that Web novels not only have continuity as genre novels, but also have a turning point as digital content. Web novels are digital content that internalizes the values of the Web 2.0 era. It should also be a core product that grows the pie in the market in its own right. This paper noted that web novels are content that embodies these consumption values. So this thesis considered about what is the visualization and commercialization strategy of the web-based novels that is currently formed, and what is the current status of the web-based romance novels as the content and the product that is driving OSMU most actively in the process of commercialization. Through this process, I found that the greatest characteristic of web novels as genre novels that have evolved into digital content is their division and crack of genre.

• IMMUNE NETWORK
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• v.20 no.5
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• pp.41.1-41.11
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• 2020

Severe acute respiratory syndrome coronavirus 2 (SARS-CoV2) is a positive-sense single-stranded RNA (+ssRNA) that causes coronavirus disease 2019 (COVID-19). The viral genome encodes twelve genes for viral replication and infection. The third open reading frame is the spike (S) gene that encodes for the spike glycoprotein interacting with specific cell surface receptor - angiotensin converting enzyme 2 (ACE2) - on the host cell membrane. Most recent studies identified a single point mutation in S gene. A single point mutation in S gene leading to an amino acid substitution at codon 614 from an aspartic acid 614 into glycine (D614G) resulted in greater infectivity compared to the wild type SARS-CoV2. We were interested in investigating the mutation region of S gene of SARS-CoV2 from Korean COVID-19 patients. New mutation sites were found in the critical receptor binding domain (RBD) of S gene, which is adjacent to the aforementioned D614G mutation residue. This specific sequence data demonstrated the active progression of SARS-CoV2 by mutations in the RBD of S gene. The sequence information of new mutations is critical to the development of recombinant SARS-CoV2 spike antigens, which may be required to improve and advance the strategy against a wide range of possible SARS-CoV2 mutations.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• Journal of agricultural medicine and community health
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• v.42 no.3
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• pp.119-131
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• 2017

Objectives: The purpose of this study was to compare the diabetic management indicators between agriculture, forestry, and fishery workers (AFF) and other occupational adults (non-AFF) in community-dwelling diabetes. Methods: The study population consisted of 22,127 diabetic population ${\geq}19years$ who participated in the 2015 Community Health Survey. Chi-square test and logistic regression analysis was used to compare the diabetic management indicators between AFF and non-AFF. Socioeconomic characteristics such as age, gender, education level, monthly household income, National Basic Livelihood Security status, and marital status was sequentially adjusted. Results: Among total diabetic population, 3,712 people (16.8%) was AFF and 18,415 people (83.2%) was non-AFF. The fully-adjusted odds ratio [OR] (95% confidence interval [CI]) of current non-medical treatment (0.72, 0.66-0.79), measurement of hemoglobin A1c (0.61, 0.55-0.67), screening for diabetic retinopathy (0.76, 0.70-0.83), screening for diabetic nephropathy (0.75, 0.70-0.81), non-alcoholic or moderate drinking (0.70, 0.64-0.78), nutrition label reading (0.83, 0.71-0.98), low salt preference (0.85, 0.78-0.93), dental examination (0.60, 0.54-0.66), scaling experience (0.84, 0.77-0.93), regular toothbrushing (0.66, 0.58-0.76), and diabetes management education (0.84, 0.77-0.92) was significantly lower in AFF compared to non-AFF. In contrast, the fully-adjusted OR (95% CI) of AFF's low stress level (1.39, 1.26-1.52) and adequate sleep duration (1.22, 1.13-1.32) was significantly higher than non-AFF, which are better indicators of diabetic management in AFF. Conclusions: Overall, the level of diabetes management of AFF was not as good as that of non-AFF. In order to improve the level of diabetes management of AFF, a delicate diabetes intervention strategy considering the occupational characteristics of AFF will be needed.

• Cross-Cultural Studies
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• v.41
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• pp.415-442
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• 2015

Through the comparison of "Rendezvous with a Bird" with "Araby", there were found to be well-explained psychological causes of the boy's (Petya) behavior that closely discloses the concrete object of desperation and definitely confirmed the internal causes of heroes (vanity of the boys in "Araby" and "Rendezvous with bird"). Through the comparison of "Rendezvous with a Bird" with "A man in a boat" we also knew that Petya's indefinite fear of death was to some extent a sense of guilt. This study contains a full-scale review of Russian contemporary writer Tatyana Tolstaya's short story "Rendezvous with a Bird", which is one of the her earliest works. As many critics indicate, the works of Tatyana Tolstaya resonate with metaphor. "Rendezvous with a bird" plays an important role in understanding this metaphoric tendency. In order to understand the metaphoric tendency of her works we need our own reading strategy, and so we inquired into the grasp of the main motifs. Analysis of the main motifs can start from the understanding of meanings of the very figurative title 'Rendezvous with a Bird'. To understand the meanings of the title, we first of all analyzed the incidents of actual or figurative meetings with birds in this work, and through this we deduced two main motifs. We confirmed one main motif of 'desperation', which centers on the love of a young boy and woman. We confirmed the other motif as 'death', which developed into the rendezvous of the grandfather with inevitable death. Thus, the 'desperation' and 'death' with which we meet in childhood becomes a subject matter for the writer. To understand the deeper meanings of these main motifs, we compared "Rendezvous with Bird" with the short story "Araby" by James Joyce and with the short story "A man in a boat" by Eyvind Johnson, which very successfully deal with the motifs: 'desperation' and 'death'.