• Journal of dental hygiene science
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• v.5 no.2
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• pp.57-62
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• 2005

This study was intended to investigate the effects of plays to oral health education for kindergarten children. Children in the kindergartens located in Hwa-sung were surveyed with questionnaires before and after the oral health education using plays. A total of 762 questionnaires were analyzed and the findings were as follow: (1) When comparing the oral health practices before and after the education, after-education practices were higher in all variables, with a statistically significant difference. Especially, whether or not having a periodical examination of health every six months made the largest difference. (2) In the interest in oral health before and after the education, it increased after education in all variables, with a statistically significant difference. (3) Satisfaction with play-using oral health education was high, with more than 95% of the respondents who answered positively. Intention of observing again the oral health educational plays was the highest. (4) For the babyhood children. the best media for oral health education that gives the most interest to studying was plays using tools such as dolls, with more than 50% of the respondents. The most memorable media was also plays. Especially, in the result that plays were the most impressed on their memory for the longest time, it increased after education to about 50% from about 40% before education.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.1-18
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• 1999

This study concerns the role of costume in Shakespeare\`s history plays from the viewpoint of the role theory. The term “role” has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the costumes. Costumes are adopted in relation with a specific role. The term ‘role’ had been borrowed from the drama. The similarity between the role on the stage and the role of the social man had been recognized. The similarity between the role on the stage and the role of the social man had been recognized. The typical examples in which the costume help to make access to a specific role and can be effectively exploited for the performance of the role are manifested in the history plays of Shakespeare. Thus, our goal in this study is to analyze the role of costume which appears in Shakespeare\`s history plays from the viewpoint of the role theory. The role of social status and position reflects sex, age, occupation, class, economic position of the characters. In his works, the crown and the mace represented not only the throne but also a previllege and supreme position. The situation role of costume could be widely used for visualizing the psychological situation and external environments of the characters on the stage. The disguise role hided one\`s status, thereby makes possible acting other\`s position. The costume also could symbolize the social status, position, rank, occupation, and the situation, and functioned as a media fo delivering messages to others. The costume performed the role of the physical and psychic protection, and provided its wearer with consolation and peaceful mind. The costume reflected the custom of a society through its wearing configuration. The costume (or a uniform) adopted by a group notified the characteristics and the expectation of action of the group to others. The results obtained from this study can provide useful cues for understanding the role action in the social structure. This kind of understanding reveals the costume phenomena in real life, allows one to perform roles properly and efficiently, and opens our insight on the overall aspects of the costume culture.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.347-357
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• 2013

The nursery active-wear uniform designs of Internet shopping malls are simple and similar; however, the latest children's wear trends (mostly composed of training jumpers and pants) do not reflect these qualities. Children's folklore plays (widely used in child education) have an instructive value for the emotional and intellectual development of a child. Nursery active-wear uniform designs applied to children's folklore's plays could be positive for the emotional development and specialized cultural education of children. We designed three nursery active-wear uniforms with three different design concepts (casual, semi-formal and sporty) regardless of sex. The main color of the three nursery active-wear uniforms was yellow. We used three different chroma and values of yellow through three design concepts: Design I of a nursery active-wear uniform (a training suit style with a good activity), Design II of a nursery active-wear uniform (a semi suit style), and Design III of a nursery active-wear uniform (a sportswear style that reflected a sport wear trend). We expressed children's folklore plays in the pattern of a nursery active-wear uniform. The pattern was characterized as a pair of bears flying kites. This pattern was utilized in three nursery active-wear uniforms with the logo and name of the nursery. We modified the designs of active-wear nursery uniforms based on an evaluation of 33 special panels. We made three nursery active-wear uniforms for five-year olds.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• CELLMED
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• v.8 no.2
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• pp.8.1-8.5
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• 2018

Nitric oxide (NO) is a small diffusible molecule which plays an important role in various physiological activities. NO is a notable molecule, functioning as a cytotoxic agent and cellular messenger. There has been considerable interest in NO production by activated macrophages because this gaseous metabolite plays a fundamental role in the cytotoxic and cytostatic effects of macrophages towards invasive micro-organisms and tumour cells. No is a bioactive free radical that has been implicated in many physiological functions, plays a critical role during inflammation and therefore constitutes a potential target for developing therapeutics for inflammatory diseases. The use of medicinal plants by the population has been an important alternative the resource in the treatment of various diseases. Its growing acceptance in the medical community has been due to the fact that several plants with biological activities have been scientifically investigated and their efficacy and safety have been proven. In this review, discussed suppressive effects of No production by traditional medicines in RAW 264.7 and THP-1 macrophages.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.923-938
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• 2009

Since the end of 1960s, an era of internationalization, Interculturalism has been reflected in intercultural plays which borrow concepts of foreign-cultural aesthetics for the performance and create a new stage language. Among many writers and performers, Oh, Tae-seok created his own unique aesthetic performances through experimental and avant-garde methodologies connected with various areas of art. His plays are worth studying since they suggest us a point of view which helps us to get out of the ordinary, fixed thought and try to see variety of reality. Therefore, our study categorized Oh, Tae-seok's play into four areas according to grotesquery interculturalism : Evil sprit, Abhorrence, Exaggeration and distort, and Heterogeneity. Based on this category, we analyzed plastic artistic characteristics of his plays' stage costume, for example, shapes, materials, and color, and tried to enhance the aesthetic value of his plays. We made a conclusion that the play showed grotesquery features in stage costume, which represented death, tragedy, evil sprit of human negligence, surprising and grotesquery abhorrence by deformity of the body, exaggeration and distortion, ridiculousness, and heterogeneity, the mixture of abnormality and unstableness. Our study could help produce adequate stage costume matching the features of the performance, and be the cornerstone of grotesquery aesthetic interculturalism study reflected in stage costume.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.186-197
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• 2010

The things that you cannot miss when reading Chekhov's plays are "pauses" and ellipses lining up in the middle of the lines. I think what meaning to amplify and how to express a great number of "pauses" and ellipses when one directs Chekhov's works may be a crucial element that makes his works more Chekhov-like. First, proper uses of "pauses" and ellipses may be helpful for determining the characteristics of the characters. So silence in Chekhov drama allows his plays considered relatively lacking actions to become totally different drama texts with musical dynamics, that is, functions as directive or acting material to be treated delicately.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.593-617
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• 2013

Tales from Shakespeare, written by Charles and Mary Lamb in 1807, is an adaptation of Shakespeare's plays which was intended for children. Shakespeare's poetic language is transmitted into prose, which enables children to easily read his works. Charles and Mary Lamb collaborated in adapting Shakespeare's plays, but they undertook separate duties which revealed different attitudes in their approach to the adaptation. This dissertation examines Mary Lamb's adaption of Shakespeare's problem play All's Well That Ends Well and Charles Lamb's adaption of Shakespeare' tragedy King Lear, with an adapted pattern focusing on the plot and character. Charles Lamb stressed the "imagination of a fairy tale," which was against the trend in children's literature of the time, while Mary Lamb stressed "the moral and didactic element." Mary Lamb was concerned with the education of female children in the early nineteenth-century. As a result, the Tales presents "a double movement" or perspective, which stresses didactic elements, as well as imagination. These ambivalent attitudes caused critical debates in the nineteenth-century. However, the Lambs defended criticism against "the double movement," suspecting themselves to be "no bigger than a child," from the viewpoint of "the imagination," and reading the Tales to be effective at "making a child a virtuous man," from the viewpoint of "an education."

• Journal of the Korean Mathematical Society
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• v.33 no.3
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• pp.541-555
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• 1996

The Fourier transform plays a central role in the theory of distribution on Euclidean spaces. Although Lebesgue measure does not exist in infinite dimensional spaces, the Fourier transform can be introduced in the space $(S)^*$ of generalized white noise functionals. This has been done in the series of paper by H.-H. Kuo [1, 2, 3], [4] and [5]. The Fourier transform $F$ has many properties similar to the finite dimensional case; e.g., the Fourier transform carries coordinate differentiation into multiplication and vice versa. It plays an essential role in the theory of differential equations in infinite dimensional spaces.