• Korean Journal of Social Welfare
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• v.40
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• pp.38-67
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• 2000

The study aims to understand the traditional context of the social policies in Germany by reviewing the course of transition of the traditional, ancient and/or medieval social policies or ideas of social policy in the country as a typical example of such transitions, which started being passed over to the modern civic society at the end of the medieval age, that is, during the 15th and 16th centuries. One of the reasons why the domestic interest in the German social policy is higher than the actual research achievements and frequently discussed seems explainable because a social security or welfare policy through a social insurance was initiated in Germany for the first time over the world in the 19th century. Notwithstanding, however, that all of us know that such a policy was not made in a day, cases are sometimes visible where focuses are easily drawn only to the periodic and economical phenomena in the 19th century and the strategic option of Preussen. Moreover, no literature which integrates thoroughly or publicly the social policies in Germany has been introduced at home, and some research books or study papers, if any, are inclined to concentrate merely on the social policies after the 19th century. Indeed, there are views, not rare, that a social policy of a national dimension was initiated along with the establishment of capitalism or an industrial society. According to such views, an industrial society or capitalism was begun to shape in the 19th century, and it is accordingly so national to lay our focuses on the social policies after the century. But from the fact that a national social policy existed much farther before the capitalism was established, it can be inferred that such policies were inevitable in all societies where a social issue existed. In the case of our country which experienced a more serious separation from the tradition than other countries by her rapid industrialization and Westernization, it is true that some traditional traces remain still regardless of their actual realization.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.180-195
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• 2016

Since being designated as an important Intangible Cultural Property, Yeongsanjae has become recognized as a unique representation of Buddhist rituals in Korea. Following vigorous research in recent years, however, Suryukjae(水陸齋) was found to have been performed for a longer period and on a larger scale than Yeongsanjae, and under state leadership. This allowed researchers to move beyond the previous perspective that Yeongsanjae(靈山齋) lay at the center of many rituals. This study aims first to examine the origin and development of Yeongsanjae in Korea based on the literature, and then to discuss the meaning it holds today. Yeongsanjae was recorded as a ritual in Jineongwongong -published in 1496 during the early Joseon Dynasty- and also appeared in Yeongsandaehoejakbeopjeolcha -published in 1634(the 12th year of Injo's reign) in the mid-Joseon Dynasty and it was called Yeongsandaehoejakbeopjeolcha. It continued into the late Joseon Dynasty and it was called Yeongsanjakbeop or Yeongsandaehoejakbeop in the Ojongbeomeum collections(1661), CheonjimyeongyangSuryukjaeuiBeomeumsanbo collections(1721), and Jakbeobguigam(1826). In modern times, it has been called Yeongsanje in newspaper articles of TongnipSinmun (The Independent) and Yeongsanjae in Seokmunuibeom(1935). Nevertheless, the difference between the early Joseon Dynasty and subsequent periods is whether mourning of the spirit(唱魂) is added. In this regard, Yeongsanhoe in the early Joseon Dynasty mainly concerned Buddhist teachings realized through rituals such as sermon scenes of the Buddha. On the other hand, it was combined with Buddhist masses for the dead(追薦) from the mid-Joseon Dynasty and performed alongside with Buddhist teachings and prayers for the dead. Taking into account the seven-day Suryukjae, however, Yeongsanjae was performed daily during the day and mainly dealt with Buddhist teachings, while Buddhist masses for the dead were included when Yeongsanjae was performed independently.

• Journal of Korean Public Health Nursing
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• v.12 no.1
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• pp.116-131
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• 1998

This study was undertaken to obtain the menstrual patterns and menstrual discomforts in women university students. For the data collection, self-administered questionnaire survey was made from December 10, 1996 to January 20, 1997 among the 180 women university students in Seoul. The resultant data were processed by SAS program for frequency, proportion, and chi-square test. The results of this study are as follows ; 1) The mean age of the subjects was 20.6 years old. The mean height was 162cm and weight was 52.3Kg. $26.9\%$ of the subjects responded that they had experienced the unbalanced diet, $56\%$ the irregular meal, $39.6\%$intermittent dizziness, and $63.4\%$ the premenstrual syndrome. $53.7\%$ had feeling that skin temperature of their four extremities was 'a little lower than others'. The mean BMI(Body Mass Index) was 19.8, 'normal level' was $41.8\%$. $18.7\%$ responded that their characters were 'introspective ones'. The mean age of menache was 13.8 years old. The subjects responded that the mean number of pads they used per day during menstrual periods was 4.6 sheets. The mean duration of menstruation was 5.4 days, $10.4\%$ responded that their menstrual cycles were 'extremely regular', $44.8\%$ was 'regular', $36.6\%$ was 'a little irregular', and $8.2\%$ was 'extremely irregular'. Out of them who had experienced the dysmenorrhea, $21.3\%$ had family history of dysmenorrhea in connection with their mother and $35.0\%$ in their sisters. The mean of the first time that they experienced dysmenorrhea was 15 years old. $94\%$ of the subjects responded that they had experienced the dysmeorrhea. $47.6\%$ of the subjects responded that they experienced the dysmenorrhea 'monthly' and $52.4\%$ 'intermittently'. $53.0\%$ of them who had experienced dysmenorrhea responded that dysmenorrhea was the severest 'on the first menstrual day' and $22.4\%$ 'on the second day'. $48.8\%$ of them who had experienced dysmenorrhea responded that the most painful region was 'low abdomen'. $40\%$ of them who had experienced dysmenorrhea responded that they used 'analgesics' to soothe dysmenorrhea, $24.8\%$ used nothing, $18.4\%$ lay in their beds or slept, and $12\%$ made their 'low abdomen' warm. $70.3\%$ who had used analgesics because of dysmenorrhea took analgesics 'one or two times per month', $25.7\%$ 'intermittently', and $4.0\%$ more than 3 times per month. The analgesics which they used were 'geworin$(33.8\%)$,' 'penzal$(32.4\%)$', 'tyrenol$(18.9\%)$', and 'aspirin$(4.2\%)$'. $(47.9\%)$ of them who took analgesics because of dysmenorrhea responded that the duration of analgesics effect was '4 to 8 hours'. $15.1\%$ of them who experienced dysmenorrhea responded that they had visited the hospital. 2) The incidence of premenstrual syndrome was no significant difference according to the BMI, unbalanced diet, pattern of meal, skin temperature of four extremites, and characters. 3) The incidence of dysmenorrhea was significant difference according to the BMI, unbalanced diet, pattern of meal, skin temperature of four extremites, and characters. 4) The incidence of analgesics usage was significant difference according to the BMI, subjects with low BMI took more analgesics than those with normal BMI (p<.05). The incidence of analgesics usage was significant difference in accordance with pattern of meal. The women who had a meal regularly took more analgesics than those who had a meal irregularly(p<.05). But the incidence of analgesics usage was no significant difference in accordance with the unbalanced diet, characters, the incidence of dizziness, skin temperature of four extremities, the incidence of premenstrual syndrome.

• Journal of Fashion Business
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• v.3 no.2
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• pp.85-90
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• 1999

A shroud is clothes for giving a dead person a bath and being finely dressed:though our routine clothes have been western, putting on a shroud has been kept comparatively well as a tradition of a conventional ceremony garments. This study is about the current using of dressing a shroud, and for presenting foundations of a way about dressing a shroud in order to make the most of this by everyone, therefore this research will be worthwhile to preserve the traditional custom of giving a dead person a bath and being finely dressed. 1. We must confirm the death of a person before we do Su-Si for controlling rightly a corse. Su-Si is ways of changing a clean clothes after bathing the dead person, tieing up hands, feet and ankles with a string, filling up a mouth, a nose and ears with a wad of cotton, laying down the dead person with his head toward east, and setting up a screen after covering the dead person with a bed sheet. 2. Here are processes of putting on a shroud. After the day of death, first of all, you must untie the string to control rightly a corpse, take off the clothes, and give a dead man a bath. You trim the dead person's fingernails and toenails, put them in O-nang, then put his hands and feet in five pouches, finally put feet in korean socks and wrap with Ak-su. You put a underwear in a overwear in order to put on the clothes easily, and then put on an upper garments after putting on trousers. And put on Sb-sin After you wash the dead person's face and his hair, you put gems and raw rice in his mouth, wrap head with cotton fabrics, and put hairs into five pouches, then put on a headgear which is filled with five pouches. 3. You tie up with hem cloth the dead person dressed a shroud after wrapping with Dae-ryum-km and So-ryumkm. 4. After you encoffin the dead person, you weave coffin strings with cotton fabrics in order to lift up the coffin easily, and lay down a red fabrics having white letters about the dead person's name or social position onto the coffin, then cover the coffin with a coffin cover : finally you leave the coffin at the former place and set up screen.

• Korean journal of applied entomology
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• v.52 no.4
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• pp.431-436
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• 2013

Ricania sp. lay eggs into the new twigs of blueberry and suck nutrients causing growth retardation and a sooty mold symptom. This study was conducted to investigate the emergence success and developmental period of overwintered eggs of Ricania sp. under the seven constant temperatures from 10 to $34^{\circ}C$ by $4^{\circ}C$ intervals (14L:10D). We also monitored the emergence time of the Ricania sp. nymph at blueberry by 3 ~ 4 day interval using a modified leaf clip cage. Development times from the overwintered egg to $1^{st}$ nymph were 107.1, 54.5, 33.9, 25.3, 25.1 and 16.7 days and the emergence successes were 23.1, 30.8, 13.8, 21.7, 11.9, and 0.6% at 14, 18, 22, 26, 30 and $34^{\circ}C$, respectively except at $10^{\circ}C$. The developmental periods were decreased with increasing temperatures. First emergence date of the nymphs in the field was between 19 and 22 May, and the average emergence success was 19.6%. The present study might be helpful to establish the management strategy of Ricania sp. based on the biological characteristic.

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

• Korean Journal of Poultry Science
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• v.35 no.2
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• pp.163-169
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• 2008

A total of 17 polymorphic microsatellite markers on chromosome 1 were used for allelic association tests with phenotypic traits in Korean native chicken. Chi-square tests were performed to compare the frequencies of individual alleles between the high and the low trait groups. The frequency of allele 123 of MCW0160 showed a significant difference between the high and the low groups in the trait of egg weight (EW). Three markers, namely ADL0234, UMA1.125 and ADL0101, were found to show significant differences in allelic distribution for the trait of the first lay day (FLD). UMA1.117, ADL0020, UMA 1.019, LMA1 and ADL0238 were found to show significant differences in allelic distribution for the trait of body weight (BW). ADL0101 and ADL0238 were found to show significant differences in allelic distribution for the trait of number of egg production(EP). In this study, we identified the QTL for economic traits at around 94 (MCW0160), 151 (ADL0234), 170 (UMA1.125), 225 (UMA1.117), 285 (ADL0020), 387 (UMA1.019), 418 (LMA1), 500 (ADL0101) and 520 (ADL0238) cM on chromosome 1 in Korean native chicken. The results provided a useful guideline for identification of positional candidate gene and marker-assisted selection for economic traits in Korean native chicken.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.