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The Way of Expression of Wangreungdo(王陵圖: A Kind of A Royal Mausoleum Map) Reflected on Sanhyoungdo(山形圖: A Kind of A Mountain Map) in the Late Nineteenth Century - Centering the Drawings Relevant to Jogyoungdan(肇慶壇) of Lee Han, the Founder of Jeonju Lee Family - (19세기 후반 산형도(山形圖)로 본 왕릉도(王陵圖)의 표현방법(表現方法) -전주이씨(全州李氏) 시조(始祖) 이한(李翰)의 조경단(肇慶檀) 관련 그림을 중심으로-)

  • Kim, Jeong-Moon
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.30 no.1
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    • pp.57-65
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    • 2012
  • This work attempted to study the properties of expression of ground, the composition of outlook and the implications of the connotative symbolic scenery throughout investigating the properties of expression content and method of the scenery, outlook, viewpoint, natural features for each drawing and intention of making 4 old maps, which had been made in the period of the Great Korean Empire and had been called 'Wansan-dohyoung(完山圖形),' 'Jogyeongdan- bigak-jaesil-dohyoung(肇慶壇碑閣齋室圖形),' 'Jeonju-geonjisan-dohyoung(全州乾止山圖形)' and 'Jogyeongmyo-gyounggijeon-dohyoung(肇慶廟慶基殿圖形),' and analyzing the correlation between their drawings. For this aim, observatory investigation by using a map, on-spot investigation, analysis involving the satellite images and internet were carried out with literature review simultaneously. The result of investigation could be sum up as follows. Gyounggijeon(1410), Jogyeongmyo(1771) and Jogyeongdan(1899), where are the core space to lay the historically firm foundation for securing the fact Jeonju is the home of the Royal Family of Joseon, had been built, fixed and extended for giving legitimacy to the Joseon Dynasty and a part of strengthening of royal authority. And these had played an important role of spiritual mainstay from early in the Joseon Dynasty to the era of the Great Korean Empire and had been managed and maintained continuously. It is grasped that the 4 maps consist of Sanhyuoungdo(山形圖; a kind of a mountain map), which is the map for showing a burial place of Lee Han(李翰), the founder of the Joseon Dynasty, and its auxiliary drawings and these had been drawn intensively to justify dignity and authority of the Imperial Family and the Emperor after the name of country was renamed the Great Korean Empire as a part of national undertaking. In detail, Wansan-doghyoung is the key map for announcing the existence of Jogyeong-myo, Gyounggijeon and Jogyeongdan in Jeonju and informing their locations and Geonjisan-dohyoung is the map of divination based on topography for highlighting the geomantic justification of the founder's mausoleum. Jogyeongdan-bigak-jaesil-dohyooung is the partial map detailing for Geonjisan-dohyoung. Jeonju-geonjisan-dohyoung and Jogyeongmyo-gyounggijeon-dohyoung had employed the binary reduced scale and the bird-eye view method and in the above maps, Geonji Mountain is the main mountain and these maps make an exaggeration of the main geographical features, centering Wangjabong and Euimyoso, unlike the real geographical features. Also, the other main geographical features, which are found in the burial place, are expressed in detail by changing the view. In the point of view of 1 set being consisted of 4 maps, 'Wansan-dohyoung' has the property not only as Gunhyoundo, which Gun and Hyoun mean a unit of the administrative district, respectively and Gynhyoundo is a kind of the map for recording their locations, but also as the map of showing their locations. On the other side, 'Jogyoungmyogyounggijeondohyoung' is a kind of lay-out drawing as a partially detailed map. In addition, it has been found out that 'Jeonju-geonjisan-dohyoung' and 'Jogyeongdan-bigak-jaesil-dohyoung' is not only Pungsu- hyounggukdo having the function of Sanhyoungdo but also a detail drawing. On the base of these properties, it is considered that the functionality as a serial map had been strengthened, unlike the existing old maps.

Data Mining and Construction of Database Concerning Effects of Vitis Genus (산머루 관련 정보수집 및 데이터베이스의 구축)

  • Kim, Min-A;Jo, Yun-Ju;Shin, Jee-Young;Shin, Min-Kyu;Bae, Hyun-Su;Hong, Moo-Chang;Kim, Yang-Seok
    • Journal of Physiology & Pathology in Korean Medicine
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    • v.26 no.4
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    • pp.551-556
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    • 2012
  • The database for the oriental medicine had been existed in documentation in past times and it has been developed to the database type for random accesses in the information society. However, the aspects of the database are not so diversified and the database for the bio herbal material exists in widened type dictionary style. It is a situation that the database which handles the in-depth raw herbal medicines is not sufficient in its quantity and quality. Korean wild grape is a deciduous plant categorized into the Vitaceae and it was found experimentally that it has various medical effects. It is one of the medical materials with higher potentiality of academic study and commercialization recently because it has a bigger possibility to be applied into diverse industrial fields including the medical product for health, food and beauty. We constituted the cooperative system among the Muju cluster business group for Korean mountain wild grapes, Physiology Laboratory in Kyung Hee University Oriental Medicine and Medical Classics Laboratory in Kyung Hee University Oriental Medicine with a view to focusing on such potentiality and a database for Korean wild grapes was made a touchstone for establishing the in-depth database for the single bio medical materials. First of all, the literatures based on the North East Asia in ancient times had been categorized into the classical literature (Korean literature published by government organization, Korean classical literature, Chinese classical literature and classical literature fro Korean and Chinese oriental medicine) and modern literature (Modern literature for oriental medicine, modern literature for domestic and foreign herbal medicine) to cover the eastern and western research records and writings related to Korean wild grapes and the text-mining work has been performed through the cooperation system with the Medical Classics Laboratory in Kyung Hee University Oriental Medicine. First of all, the data for the experiment and theory for Korean wild grape were collected for the Medline database controlled by the Parliament Library of USA to arrange the domestic and foreign theses with topic for Korean wild grapes and the network hyperlink function and down load function were mounted for self-thesis searching function and active view based on the collected data. The thesis searching function provides various auxiliary functions and the searching is available according to the diverse searching/queries such as the name of sub species of Korean wild grape, the logical intersection index for the active ingredients, efficacy and elements. It was constituted for the researchers who design the Korean wild grape study to design of easier experiment. In addition, the data related to the patents for Korean wild grape which were collected from European Patent Office in response to the commercialization possibility and the system available for searching and view was established in the same viewpoint. Perl was used for the query programming and MS-SQL for database establishment and management in the designing of this database. Currently, the data is available for free use and the address is as follows. http://163.180.41.43:8011/index.html

The study on the structure of the Lee Je-ma's viewpoint of Morpho-Image (이제마(李濟馬) 형상관(形象觀)의 구조적(構造的) 고찰(考察))

  • Lee, Jun-hee;Koh, Byung-hee;Song, Il-byung
    • Journal of Sasang Constitutional Medicine
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    • v.11 no.1
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    • pp.41-61
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    • 1999
  • The purpose of this article is to investigate Lee Je-rna'os viewpoint of Morpho-Image. In the first place, I will define the viewpoint of Morpho-Image as the the structure of recognition and study it through bibliographic study on Lee Je-ma's work. The conclusions summarized as follows; 1. The structure of recognition, represented in "Gyukchigo(格致藁)" "Dongyi Soose Bowon Sasang Chobonkyon(東醫壽世保元四象草本卷)", is based on Taigi(太極), Liangyi(兩儀), Sasang(四象). There are the mind of Taigi(太極), the mind of Liangyi(兩儀) separated from Taigi(太極), the mind of Sasang(四象) separated from Liangyi(兩儀). The mind of Taigi(太極) is the mind of center, the mind of Liangyi(兩儀) is the mind of the mind and body(or the wisdom and action). Two axis, the mind(or wisdom) and the body(or action), cross and make Sasang(四象), affair-mind-body-object which classifies all affairs and objects of humans, society, and the universe as four types. 2. Lee Je-ma summarized everything in view of Sasang(四象), Sasang(四象) in view of Liangyi(兩儀), Liangyi(兩儀) in view of Taigi(太極). 3. The procedure of recognition above is described in , , . Such is transformed in terms of human body and described in .

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Lee Ungno (1904-1989)'s Theory of Painting and Art Informel Perception in the 1950s (이응노(1904~1989)의 회화론과 1950년대 앵포르멜 미술에 대한 인식)

  • Lee, Janghoon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.172-195
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    • 2019
  • Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

A new glimpse on the foundation of the Bronze Age concept in Korean archaeology (한국 고고학 성립 시기 청동기 연구에 대한 새로운 인식 - 윤무병(1924~2010)의 연구를 중심으로 -)

  • KANG, Inuk
    • Korean Journal of Heritage: History & Science
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    • v.54 no.2
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    • pp.154-169
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    • 2021
  • The establishment of the Bronze Age is one of the most important achievements suggested by Korean archaeology shortly after liberation. There is no doubt that Moo-Byung Yoon is the representative figure, who refuted the ambiguous Eneolithic age (金石倂用期) created by Japanese scholars and settled the concept of the Bronze Age. In this article, the author takes a new look at Yoon's institutional role in studying the Bronze Age in Korea. Until now, Yoon's representative achievement has been his typology of the Slender dagger of the Korean Peninsula. However, it is not less important that Yoon also established the Bronze Age concept with the excavation of a dolmen and a Bronze Age subterranean dwelling in Oksok-ni, Paju during the 1960s. Of course, it was not a personal assignment for Yoon. He was aided by Prof. Kim Won-Yong's work, who had introduced newly excavated materials from North Korea and China; these materials gave some insight for establishing the Bronze Age concepts in the 1960 and 1970s. Kim's suggestion about the possibility of a Korean Bronze Age led to Yoon's refined typological study on Korea's bronze wares. However, Yoon's excessive schematic classification of artifacts and reliance on the Japanese chronology became an obstacle for making the Korean Bronze Age isolated from East Asia. As a result, it is regrettable that his research led to the "cultural lag" phenomenon of Bronze Age research. Meanwhile, Japanese archaeology, which had influenced Yoon, also faced a major change. In 2003, the Japanese archaeological community revised the Yayoi culture's beginning around the 1,000 BC. This means a shift in the perception that we should understand Japan's Bronze Age in the context of the East Asian continent. Of course, it is not appropriate to reevaluate or denigrate Yoon's research from the current view. Rather, it is necessary to recognize the limitations of Yoon's time and present a new path to research by combining the archaeological tradition of refining research on the relics he maintained with a new chronological view and a macro view of East Asian archaeology. This is why we should take a new glimpse into Yoon's research.

Study on the Painting of Gyeongwoo-gung Shrine (景祐宮圖) (국립문화재연구소 소장 '경우궁도(景祐宮圖)'에 관한 연구)

  • Kim, Kyung Mee
    • Korean Journal of Heritage: History & Science
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    • v.44 no.1
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    • pp.196-221
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    • 2011
  • The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.

A Study on the Restoration of the Wangheungsa Temple's Wooden Pagoda (왕흥사 목탑의 복원 연구)

  • Kim, Kyeong-Pyo;Sung, Sang-Mo
    • Journal of architectural history
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    • v.19 no.3
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    • pp.7-29
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    • 2010
  • The form of the Wangheungsa Temple's wooden pagoda site is that of the traditional form of the wooden pagodas constructed during the Baekjae Period. Likewise, it is an important ruin for conducting research on the form and type of the wooden pagodas constructed during the Baekjae Period. In particular, the method used for the installation of the central pillar's cornerstone is a new technique. The purpose of this research is to restore the ruin of the Wangheungsa Temple's wooden pagoda of the Baekjae Period that remains at the Wangheungsa Temple's wooden pagoda site. Until now, research conducted on the wooden pagoda took place mostly centered on the Hwangryongsa Temple's wooden pagoda. Meanwhile, the reality concerning Baekjae's wooden pagoda is one in which there were not many parallel cases pertain to the design for restoration. This research paper wants to conduct academic examination of the Wangheungsa Temple's wooden pagoda to organize the intention of design and design process in a simple manner. This research included review of the Baekjae Period's wooden pagoda related ruins and the review of the existing wooden pagoda ruin to analyze the wooden pagoda construction technique of the era. Then, current status of the Wangheungsa Temple's wooden pagoda site is identified to define the characteristics of the wooden pagoda, and to set up the layout format and the measure to estimate the size of the wooden pagoda in order to design each part. Ultimately, techniques and formats used for the restoration of the wooden pagoda were aligned with the wooden pagoda of the Baekjae Period. Basically, conditions that can be traced from the current status of the Wangheungsa Temple site excavation using the primary standards as the standard. Wangheungsa Temple's wooden pagoda was designed into the wooden pagoda of the Baekjae's prosperity phase. The plane was formed into $3{\times}3$ compartments to design into three tier pagoda. The height was decided by factoring in the distance between the East-West corridors, size of the compartment in the middle, and the view that is visible from above the terrace when entering into the waterway. Basically, the origin of the wooden structure format is based on the Goguryeo style, but also the linkage with China's southern regional styles and Japan's ancient wooden pagoda methods was factored in. As for the format of the central pillar, it looks as if the column that was erected after digging the ground was used when setting up the columns in the beginning. During the actual construction work of the wooden pagoda, central pillar looks as if it was erected by setting up the cornerstone on the ground. The reason that the reclaimed part of pillar that use the underground central cornerstone as the support was not utilized, was because the Eccentric Load of the central pillar's cornerstone was factored in the state of the layers of soil piled up one layer at a time that is repeated with the yellow clay and sandy clay and the yellow clay that were formed separately with the $80cm{\times}80cm$ angle at the upper part of the central pillar's cornerstone was factored in as well. Thus, it was presumed that the central pillar was erected in the actual design using the ground style format. It is possible to presume the cases in which the reclaimed part of pillar were used when constructed for the first time, but in which central pillar was installed later on, after the supplementary materials of the underground column is corroded. In this case, however, technique in which soil is piled up one layer at a time to lay down the foundation of a building structure cannot be the method used in that period, and the reclamation cannot fill up using the $80cm{\times}80cm$ angle. Thus, it was presumed that the layers of soil for building structure's foundation was solidified properly on top of the central pillar's cornerstone when the first wooden pagoda construction work was taking place, and that the ground style central pillar was erected on its upper part by placing the cornerstone once again. Wangheungsa Temple's wooden pagoda is significant from the structure development aspect of the Korean wooden pagodas along with the Hwangryongsa Temple's wooden pagoda. Wangheungsa Temple's wooden pagoda construction technique which was developed during the prosperity phase of the Baekjae Period is presumed to have served as a role model for the construction of the Iksan Mireuksa Temple's wooden pagoda and Hwangryongsa Temple's wooden pagoda. With the plan to complement the work further by excavating more, the basic wooden pagoda model was set up for this research. Wangheungsa Temple's wooden pagoda was constructed as at the Baekjae Kingdom wide initiative, and it was the starting point for the construction of superb pagoda using state of the art construction techniques of the era during the Baekjae's prosperous years, amidst the utmost interest of all the Baekjae populace. Starting out from its inherent nature of enshrining Sakyamuni's ashes, it served as the model that represented the unity of all the Baekjae populace and the spirit of the Baekjae people. It interpreted these in the most mature manner on the Korean peninsula at the time.

A study on the state of inservice education for dental hygienists and their relevant awareness (치과위생사의 보수교육 실태 및 인식에 관한 연구)

  • Jung, Jae-Yeon;Kim, Kyung-Mi;Cho, Myung-Sook;Ahn, Geum-Sun;Song, Kyoung-Hee;Choi, Hye-Jung;Choi, Youn-Seon;Hwang, Yoon-Sook
    • Journal of Korean society of Dental Hygiene
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    • v.7 no.1
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    • pp.73-89
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    • 2007
  • The purpose of this study was to examine the reality of inservice education provided to members of Korean Dental Hygienists Association, the state of relevant academic conferences, and the perception of the members about inservice education and academic conference. It's basically meant to help boost their participation in inservice education and their satisfaction with it, and to show some of the right directions for that. The subjects in this study were dental hygienists who attended a symposium on July 1, 2006. After a survey was conducted, the answer sheets from 489 participants were analyzed, and the findings of the study were as follows: 1. General hospitals and university hospitals made up the largest group(91.4%) that gave a monthly leave of absence, and the second largest group was dental hospitals(75.4%), followed by dental clinics(58.3%) and public dental clinics(48.0%). The most common closing time in dental clinics and dental hospitals was 5 p.m., and that was 12 p.m. in general hospitals and university hospitals. The dental hygienists in public dental clinics didn't work on Saturdays. By type of workplace, treatment was the most common duty for the dental hygienists in dental clinics and dental hospitals to perform, and those who worked at general hospitals, university hospitals and public health clinics were in charge of extensive range of jobs. 2. The rates of the dental hygienists who took that education stood at 94.9% in public dental clinics, 78.7% in dental hospitals and 75.3% in dental clinics, general hospitals and university hospitals. Regarding how many marks they got on an yearly basis, those who got eight marks or more made up the largest group(55.6%), followed by four marks or more(11.8%), six marks or more(3.4%), and two marks or more(1.5%). As for the usefulness of inservice education for their job performance, the largest number of the dental hygienists(40.8%) found it to be helpful, and the second greatest group(37.5%) considered its effectiveness to be so-so. The third largest group(8.4%) found it to be of great use, and the fourth biggest group(4.2%) considered it to be of no service. The fifth biggest group(l.3%) thought it was absolutely useless. By type of workplace, the workers in dental clinics, dental hospitals, general hospitals and university hospitals wanted the most to learn how to take care of clinical work(acquisition of up-to-date technology), and those in public health clinics hoped the most to learn about public dental health. By type of workplace, the workers in dental clinics had their sight set on self-development the most, and the dental hygienists in dental hospitals, general hospitals, university hospitals and public health clinics were most in pursuit of acquiring new knowledge. By type of workplace, the specific given conditions at work were most singled out by the dental clinic workers as the reason, and the dental hospital employees pointed out time constraints the most. The dental hygienists in general hospitals and university hospitals cited time constraints and financial burden the most, and the public health clinic personnels mentioned inaccessibility of a place for inservice education as the reason. 3. The public health clinic workers participated in academic conferences the most(90.8%), followed by the general and university hospital personnels(68.8%), dental hospital employees(65.6%) and dental clinic workers(65.5%). By type of workplace, the public health clinic workers(73.5%) expressed the most satisfaction, followed by the general and university hospital employees(67.7%), dental clinic workers(62.3%) and dental hospital personnels(54.1%). By type of workplace, the employees of dental clinics, dental hospitals, general hospitals and university hospitals preferred Saturdays, and the public health clinic workers had a liking for weekdays. As for a favored place, hotels were most preferred, followed by university hospitals, general hospitals, college lecture rooms, district halls and local public institutions. Hotels were most favored regardless of the type of workplace. 4. Regarding outlook on inservice education, they had the highest opinion on the facilities and given conditions of lecture rooms($3.41{\pm}0.83$), followed by the professionalism of lecturers($3.34{\pm}0.83$), procedures of receipt and attendance confirmation($3.34{\pm}0.83$) and class size($3.13{\pm}0.89$). On the contrary, they took the most dismal view of the inaccessibility of a place of inservice education($2.08{\pm}0.92$), followed by limited opportunity and limited date for that education($2.51{\pm}0.99$), extra financial burden($2.53{\pm}1.18$) and high tuition fee($2.57{\pm}0.96$).

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Effect of Cognitive Affordance of Interactive Media Art Content on the Interaction and Interest of Audience (인터랙티브 미디어아트 콘텐츠의 인지적 어포던스가 관람자의 인터랙션과 흥미에 미치는 영향)

  • Lee, Gangso;Choi, Yoo-Joo
    • KIPS Transactions on Software and Data Engineering
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    • v.5 no.9
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    • pp.441-450
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    • 2016
  • In this study, we investigate the effect of the level of cognitive affordance which explains an explicit interaction method on the interest of viewers. Viewer's recognition of the interaction method is associated with cognitive affordance as a matter of visual-perceptual exposure of the input device and viewer's cognition of it. The final goal of the research on affordance is to enhance the audience participation rather than the smooth interation. Many interactive media artworks have been designed with hiding the explicit explanation to the artwork due to worry that the explicit explanation may also hinder the induction of impressions leading the viewer to an aesthetic experience and the retainment of interest. In this context, we set up two hypotheses for study on cognitive affordance. First, the more explicit the explanation of interaction method is, the higher the viewer' understanding of interaction method is. Second, the more explicit the explanation of interaction method is, the lower the interest of the viewer is. An interactive media art work was manufactured with three versions which vary in the degree of visual-perceptual information suggestion and we analyzed the participation and interest level of audience in each version. As a result of the experiments, the version with high explicitness of interaction was found to have long time spent on watching and high participation and interest of viewers. On the contrary, the version with an unexplicit interaction method was found to have low interest and satisfaction of viewers. Therefore, regarding usability, the hypothesis that a more explicit explanation of interaction would lower the curiosity and interest in exploration of the viewer was dismissed. It was confirmed that improvement of cognitive affordance raised the interaction of the work of art and interest of the viewer in the proposed interactive content. This study implies that interactive media art work should be designed in view of that the interaction and interest of audience can be lowered when cognitive affordance is low.

A Case Study on Recreating Simcheongjeon in Class A Literary Therapeutic View (문학치료학적 관점에서 본 <심청전> 재창작 수업사례 연구)

  • Cho, Young-ju
    • Journal of Korean Classical Literature and Education
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    • no.32
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    • pp.159-191
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    • 2016
  • This paper describes the procedure of recreating the classics which introduced in author's lecture on "Classics and Creation." The work and result of this paper is based on the activities in the Korean language and literature lecture which the author was leading at university A in Seoul in 2014. This paper aims to identify aspects of introspection that college students underwent during the procedure of recreating. The subjects for analysis were the works created by college students participating in the class through three presentations. In section 2, it is discussed three major issues regarding the process of recreating classics. One is "presentation of the background for the selection of the work to recreate and the way of implementation". Second is "analysis of the original works and case studies on recreated works". Third is "recreation of works and meta writing". Those activities were conducted as part of the lecture. In section 3, it is investigated that the pattern of introspection of college students. It focused on analyzing the attitudes of the students toward life based on their selection, analysis, and recreation of classic works. Moreover, their self-assessment of the recreated works was examined as well. It is noted that the attitudes and tendency of students when faced with problems if any. While the students in the class selected diverse works for recreating, this paper compared and analyzed the works and introspective aspects of two students who recreated Simcheongjeon. Therefore, aspects of creativity could be identified based on the pattern of their recreation, which participants subtly describe the relationship with their father in recreated works. In accordance with the analysis, it is required to select more works for an effective class on recreation of classic literature and investigate a more systematic and diverse methodology for doing so. However, since the class for recreation of classic literature uses the narrative of the original work, it would reduce the burden on creation. In addition, it is possible to scrutinize in-depth problems of participant's general issue in life by using classic literature as a medium for introspection. Moreover, it was identified that a public presentation of these works enabled exploring self-narration on more objective aspects and collecting feedback from others.