• Journal of the Korea Convergence Society
• /
• v.13 no.1
• /
• pp.375-386
• /
• 2022

Work involving standing or walking for a long time can cause swelling, pain, and fatigue in the lower extremities due to the effect of gravity on the circulation of the body. This study aimed to confirm the effects of aromatherapy essential oils, as a complementary and alternative therapy, on lower extremity edema, pain, and fatigue when applied as a foot bath or spray. The study was conducted after daytime work over two consecutive days on nurses who volunteered at the E University Hospital in D Metropolitan city between 15 August 2018 and 11 October 2018. This randomized controlled study. The foot bath group received a foot bath in 9 L of water containing 0.5 ml of essential oil blended with grapefruit and peppermint in a 1:1 ratio. The spray group received the same solution in 3% dilution in the form of a spray. Edema was assessed by measuring calf and ankle circumference, while pain and fatigue were evaluated using a numerical rating scale. Data were analyzed by ANOVA and repeated-measures ANOVA. The calf circumference in the foot bath and spray groups significantly reduced compared to that in the control group (F = 14.053, p <.001) after the interventions. Lower extremity pain (F = 42.497, p < .001) and fatigue (F = 20.641, p < .001) also significantly reduced in the foot bath and spray groups compared to those in the control group after the interventions. Foot bath is recommended to relieve swelling and pain in the lower extremities, and aroma spray is highly recommended considering the ease of application.

• The Southeast Asian review
• /
• v.21 no.3
• /
• pp.1-42
• /
• 2011

In terms of seaborne contacts of Vietnamese court with foreign countries had two directions in the 19th century. One was with Island Southeast Asian ports such as Singapore, Malacca, Penang, Batavia, and Manila. The other direction was to Canton. The Canton contact of Vietnam again can be interpreted as one of the two directions of Vietnamese contact with China. The inland route far to Beijing was based on the political and diplomatic consideration, while the closer route to Canton by the court vessels was more for the economic consideration as the case for the contact with the Island Southeast Asia. In this article, author discusses three issues to illuminate the nature of the trips of the court vessels of the Nguyễn dynasty to Canton. First is to clarify detail itinerary of the trip from the Thuận An Estuary to the City of Canton via Đà Nãng and Hanan. Unlike to the Western ships that visited Canton but anchored at the Huang Fu, Vietnamese square-rigged/copper-bottomed ships sailed up the Pearl river to the Guangzhou city front to stay for four or five months before they returned to Vietnam. In the second chapter, various kinds of observation of the Vietnamese officials are discussed. If the objects of the observation are divided into two categories, one is the world Westerners in Canton, and the other is the world of Chinese. In a same place, Canton, the Vietnamese officials could have enough chance to compare the two worlds clearly. An important consequence for the Vietnamese officials was to conclude that the mechanical technology of the Westerners was better than that of Chinese. This kind of conclusion led the Vietnamese court to send court personnels to learn Western technologies and languages in the port cities of Island Southeast Asia and to enlarge contacts with them. In the last chapter, author tries to find out the items that the Vietnamese mission purchased in Canton in exchange to the Vietnamese products. The items that the Vietnamese mission purchased included ceramics, silk, books, and medicines. With the support of the Chinese settlers in Vietnam the mission was able to be involved in the deal of illegal items such as opium, and possibly some kinds of precious ginseng from Korea. Overall, the process of the itinerary, observation, and purchase during the trip to Canton was the way to form the new point of view of Vietnamese intellectuals towards China standing from the side of Westerners. To the Vietnamese who experienced both Canton/Macao and the Western worlds in the port cities of Island Southeast Asia China was not the only center of the world, nor the Westerners could be looked down as the barbarians. In Canton, a peripheral region looked from the imperial capital Beijing, but the most internationalized city of China at that time, Vietnamese officials were training themselves to overcome China.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.3
• /
• pp.165-172
• /
• 2024

This study illuminates the relationship between childhood abuse experiences and early maladaptive schemas, and compares the moderating effects of expressive suppression and cognitive reappraisal within this relationship. Conducting a self-report survey among 220 graduate students in Daejeon and Chungcheong regions, data from 210 participants were analyzed. The results notably revealed that the interaction effect of suppression, but not cognitive reappraisal, significantly moderates the relationship between childhood abuse experiences and disconnection/rejection schemas. Specifically, high levels of expressive suppression were associated with a decrease in the negative impact of childhood abuse on disconnection/rejection schemas, whereas low levels of suppression increased this negative impact. This suggests that for individuals with long-standing early maladaptive schemas, which have solidified over time akin to personality traits, cognitive reappraisal strategies may be less effective in inducing change. Conversely, expressive suppression strategies may more effectively reduce the intensity of disconnection/rejection schemas, among other early maladaptive schemas. These findings provide important implications for understanding the long-term effects of childhood abuse and developing intervention strategies to mitigate its resultant maladaptive schemas. Based on the outcomes of this study, suggestions for future research are discussed, along with the potential applicability and limitations of suppression and reappraisal strategies in psychological interventions.

• Fisheries and Aquatic Sciences
• /
• v.27 no.4
• /
• pp.240-255
• /
• 2024

Widas Reservoir is situated in an area of 570 ha in the Pajaran Village, Madiun Regency, East Java Province, Indonesia, playing an essential role in fisheries, with the average fish catch per year of about 283 tons/year. This study explores the standing stock, growth parameters, mortality, and exploitation rates of several dominant fishes in Widas Reservoir. This study was carried out from February to November 2019. Fish stocks were estimated using acoustic tools, fish catch records, and sizes collected by local enumerators. Fish length frequency sampling was conducted on several dominant fish species, such as Oreochromis niloticus, Barbonymus gonionotus, and Osteochilus vittatus. Based on the length-frequency data, estimating fish population dynamics, the fish population dynamics (infinitive length (L_∞) and growth coefficient (K)) estimation was run in a time series using the Fish Sock Analysis Tool, II (FISAT II) program package. Moreover, the estimation of natural mortality parameters, the fishing mortality parameter, and the exploitation rate was also performed. The approximated overall fish stock in the Widas Reservoir was about 79,848 kg, which lowered with the increase in water depth. Of particular concern, in the surface layer at a depth between 1-5 m, the fish stock reached 58,813 kg, while in the deeper zone (> 15 m), the value significantly lowered by about 98%, reaching 1,219 kg. These results indicate an overfishing in the Widas Reservoir. The value of the exploitation rate (E) of B. gonionotus was 0.748, O. niloticus 0.8, and O. vittatus 0.7, respectively, proving the overfishing states occurred in the study area. Therefore, regulations governing the number of catches and the use of fishing gear are crucial in Widas Reservoir, particularly the use of lift and gill nets with a mesh size of less than 2 cm.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.183-218
• /
• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.98
• /
• pp.22-53
• /
• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.

• Journal of the Korean Society of Costume
• /
• v.39
• /
• pp.113-123
• /
• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• Culinary science and hospitality research
• /
• v.8 no.3
• /
• pp.309-321
• /
• 2002

In this study, the characteristics of Jeung-pyun hatter were investigated by wine yeast. The processing conditions were optimized by physicochemical characterization including pH, volume, reduced sugar. The effect of yeast concentration, moisture content on the fermentation time and temperature were investigated in view of improving productivity. It was found that the volume was increased at maximum state when the fermentation was carried out at 35 $^{\circ}C$ with 0.1% yeast concentration 60% of moisture. The quality of Jeung-Pyun was most preferable in the condition of 0.1% wine yeast(Pasteur Red) for 8 hrs at 35$^{\circ}C$.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.5 no.4
• /
• pp.1-34
• /
• 2010

Recently, failure rates of Kosdaq IPO firms are increasing and their survival rates tend to be very low, and when these firms do fail, often times backed by a number of governmental financial supports, they may inflict severe financial damage to investors, let alone economy as a whole. To ensure investors' confidence in Kosdaq and foster promising and healthy businesses, it is necessary to precisely assess their intrinsic values and survivability. This study investigates what contributed to the failure of IPO firms and analyzed how these elements are factored into corresponding firms' stock returns. Failure risks are assessed at the time of IPO. This paper considers factors reflecting IPO characteristics, a firm's underwriter prestige, auditor's quality, IPO offer price, firm's age, and IPO proceeds. The study further went on to examine how, if at all, these failure risks involved during IPO led to post-IPO stock prices. Sample firms used in this study include 98 Kosdaq firms that have failed and 569 healthy firms that are classified into the same business categories, and Logit models are used in estimate the probability of failure. Empirical results indicate that auditor's quality, IPO offer price, firm's age, and IPO proceeds shown significant relevance to failure risks at the time of IPO. Of other variables, firm's size and ROA, previously deemed significantly related to failure risks, in fact do not show significant relevance to those risks, whereas financial leverage does. This illustrates the efficacy of a model that appropriately reflects the attributes of IPO firms. Also, even though R&D expenditures were believed to be value relevant by previous studies, this study reveals that R&D is not a significant factor related to failure risks. In examing the relation between failure risks and stock prices, this study finds that failure risks are negatively related to 1 or 2 year size-adjusted abnormal returns after IPO. The results of this study may provide useful knowledge for government regulatory officials in contemplating pertinent policy and for credit analysts in their proper evaluation of a firm's credit standing.

• Journal of Animal Science and Technology
• /
• v.55 no.5
• /
• pp.381-388
• /
• 2013

This study examined the effects of sex in different group sizes of Hanwoo calves. The growth performance including the mean daily gain, feed conversion rate, behavioral characteristics, and blood parameters in Hanwoo calves were investigated. A total of 54 heads of Hanwoo calves were housed separately at 4 heads per group, 3 heads per group, and 2 heads per group per pen. In the heifer calves, except for those 10 months of age, the growth performance was improved by increasing the group size, which was similar to steer calves (p<0.05). The heifer calves housed in 3 heads group spent more time lying down (p<0.05). The steer calves spent more time standing in the 3 heads group, lying down (2 heads group), and walking (4 heads group). The heifer calves housed in 2 heads group had a lower frequency of drinking, self-grooming, pairwise grooming, and fighting (p<0.05). On the other hand, the steer calves in the 4 heads group had a higher frequency of drinking, rubbing, and fighting (p<0.05). The white blood cell and cortisol were highest in the heifer calves in the 2 heads group (p<0.05).