• 한국산학기술학회논문지
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• 제13권6호
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• pp.2632-2640
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• 2012

본 연구의 목적은 지연성근통증에 대한 내측 비복근 초음파 영상의 측정도구로서의 가능성에 대해 알아보고자 함에 있다. 본 연구는 2011년 4월 21일부터 4월30일까지 실시되었다. 평소 규칙적인 운동을 하지 않으며, 최근 외상의 경험, 근골격계 질환, 심혈관계 질환이 없고 약물을 복용하지 않는 35명의 건강한 성인이 참여하였다. 대상자들은 5시간의 등반을 통해 지연성근통증을 유발하였으며, 지연성근통증 전과 지연성근통증 후 24, 48, 72시에 통증(visual analogue scale :VAS), 혈중 크레아틴 키나아제(creatine kinase: CK) 활성도, 족저 굴곡근의 최대근수축력(maximal voluntary isometric contraction: MVlC)을 측정하였고, 이 측정값과 초음파로 측정한 내측 비복근의 우상각을 비교하였다. 연구의 결과는 다음과 같다. 통증지표, 혈중 크레아틴 키나아제 활성도, 족저 굴곡근 최대등척성근수축력에 측정시기에 따른 유의한 차이가 발생하였으며(p<0.05), 내측 비복근 우상각에서도 측정시기에 따른 유의한 차이가 발생하였다(p<0.05). 또한 변수 간 측정시기에 따른 변화의 흐름이 일치하는 것을 확인하였다. 본 연구를 통해 초음파 검사를 통한 내측 비복근 우상각의 시간경과에 따른 변화 측정이 지연성근통증을 감지하는 새로운 측정방법으로 사용될 수 있을 것이라 생각한다.

• 한국치위생학회지
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• 제9권4호
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• pp.753-767
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• 2009

Objectives : The study is to gain some basic material for the improvement of dental clinics' homepages through a survey investigation, in which college students of three Dental Hygienic departments participated in Kwangju and Cheollanamdo Province. Methods : In the investigation three factors were analyzed : the degree of knowledge on dental clinics' homepages, the degree of recognition on them, and whether they have paid a visit on them or not. A total of 509(96.8%) respondents are valid except 17sheets of responses. Results : 1. When asked about the degrees of knowledge on the formation of the homepages by students' years, the correct rate on Information Service was higher in a row of the second year, the first year, and the third year. And it shows statistically significant difference(p<0.05). In the part of Counseling Service, the rate of correct answers was highest in the second year, and then the first year and the third year. It also shows significant difference(p<0.05). In case of Visual Service, the second year got the highest rate of correct answers, and then the first year and the third year. Here is significant difference by the school years<0.01) 2. It was asked whether they have visited the dental clinics' homepages. The results are like this: 145 sophomores(28.5%) have visited them, and 115 juniors(22.6%) and 85 freshmen(16.7%), and it show significant difference (p<0.001). 3. It was asked how many sites they have visited. Among the freshmen, not a few students visited two sites (34, 9.9%), among sophomores 48 students visited five sites(13.9%), and among juniors the highest answers were two sites (41, 11.9%). It shows signigicant difference(p<0.01). 4. It was asked what is the purpose of the visits. At this 27 freshmen answered for having counseling(7.8%), and 80 sophomores(23.3%) and 43 juniors(12.5%) answered they visited them for the purpose of gaining some materials about their major. It shows significant difference(p<0.001). 5. It was asked with what opportunity they have visited them. They answered through searching activities like this : freshmen (68, 19.8%), sophomores (130, 37.9%), and juniors (98, 28.6%). It shows significant difference(p<0.05). 6. In regard with the recognition of the homepages, all the participants said that the management of the homepages are closely related with the images of the clinics($3.96{\pm}0.781$). But it is found that they do not think that the effective management of dental clinics' homepages is the task of dental hygienic workers as a part of dental hygienic($3.12{\pm}0.971$). 7. There is some difference concerned with the homepages among each group of students; sophomores have highest recognition on them and then juniors and freshmen, and it shows significant difference(p<0.01). In addition, those who have visited them show higher recognition than those who have never visited them(p<0.001). Conclusions : There are some differences among each group of students in regard with the formation service, the purpose of visiting them and such experiences, and the opportunities. Whereases they think that the management of the homepages are closely related with the images of the clinics, they do not think that the effective management of dental clinics' homepages is the task of dental hygienic workers as a part of dental hygienic. Therefore it is necessary to study actively for the qualitative improvement of the dental clinics' homepages, which will result in the higher recognition on the homepages by the dental hygienic students and the workers.

• 조명전기설비학회논문지
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• 제23권4호
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• pp.16-28
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• 2009

무대 예술은 근본적으로 '본다'는 본질을 바탕으로 삼는 동시에, 보여주고 보는 행위의 상대성을 지니고 있다. 무대 조명을 인공적인 빛을 이용하여 무대 예술의 근본인 '본다'는 본질을 해결하고 현대에 이르러서는 전기의 발명과 함께 급속도로 발전된 조명기재들과 광학의 발달에 힘입어 무대 예술의 중요한 시각적 표현매체로 역할이 증대되었다. 그러므로 조명은 하나의 무대예술 분야에서 빛이라는 매개체를 이용하여 무대공간을 아름답게 표현할 뿐만 아니라 관객에게 지적, 정서적 감동을 주는, 시간과 공간을 미학적으로 표현하는 시각예술이라 할 수 있다. 즉 무대 조명이란 조명 공학(기술, 과학) + 미의식(감각, 예술)의 복합적인 기능이라 할 수 있다. 무용은 움직임의 예술이며 선의 예술이다. 신체의 움직임은 무용의 재료이며, 움직임을 만들어 내는 무용수의 몸은 표현의 매체이다. 무용 예술은 인간의 신체를 도구로 움직임을 선정하고, 의식적으로 형상화된 동작의 표현 또는 내면의 정서적 반영을 관객들에게 극대화된 미적체험을 전달하며 감동을 전이시키는 예술이며, 시각적인 미를 보다 확대시키고 강조하기 위하여 무대 공연에 있어 조명, 장치, 의상, 음악, 소품 등의 보조적 도구들을 활용하는 종합예술이다. 그 중에서도 무용 조명은 그 표현의 미를 극대화 시키는 시각예술로서 순수한 신체언어의 조형적 시각화 작업이 필요하다. 이를 위해 본 연구자는 무대 조명의 기초와 타 분야와의 관계, 조명의 기능과 특징을 연구하여 무용 예술의 시각화를 극대화 시킬 수 있는 조명의 활용방안을 마련하고, 조명의 예술적 발전과 무용의 미적 표현 능력을 극대화 시키는데 그 목적이 있으며 다음과 같은 결론에 도달하였다. 첫째, 조명은 다양한 기재가 갖고 있는 빛의 형태와 방향성 등을 이용하여 무대 공간을 시각화 할 수 있으며, 작품이 추구하는 이미지 극대화를 표현할 수 있다. 둘째, 무용 작품에 있어 무용이 갖고 있는 공간의 형태를 빛의 움직임을 통한 시각적 연출로서의 조명이 가능하다. 셋째, 빛으로 창출하는 시각적, 공간적 표현을 통하여 작품의 극적 카타르시스를 관객에게 지적, 정서적 감동을 일으키게 한다. 넷째, 조명이 보조자로서의 역할이 아니라 독창적인 하나의 시각 디자인으로 자리매김 할 수 있다. 끝으로 대다수 사람들이 상식적으로 생각하고 있는 "무대를 밝게 비추는" 조명의 단순한 기능에서 벗어나 예술의 한 영역으로 발전하기 위해서는 조명 디자이너는 창조성과 예술성을 가지고 안무가의 의도나 작품을 이해하여 빛과 색채를 미적인 언어로 파악하여 작품의 효과를 높여주고 작품 구성의 한 요소로 참여하여 조명이 하나의 예술로 다뤄질 수 있도록 노력해야 한다. 특히 이번 연구를 통해 빛의 움직임을 통한 공간의 구성을 미학적으로 표현하기 위해서는 기본적으로 예술적 감각을 키우고, 생명력을 불어 넣는 빛의 예술뿐 아니라 저변에 걸쳐있는 제반예술에 대해 심미안을 키워야 할 것이다.

• 디자인학연구
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• 제19권5호
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• pp.119-128
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• 2006

미디어의 발전과 함께 시각표현은 정지화면에서 동영상으로 그 영역이 확대되었다. 애니메이션 영화, TV CM, GUI 등과 같은 분야는 프레임이 누적된 가현운동 현상이 나타나면서 쇼트, 씬과 같은 단위 구조가 만들어지므로 정지화면에 비해 움직임이 필연적인 조형요소가 된다. 따라서 형태, 색채, 공간, 크기, 움직임과 같은 조형요소 중에서 움직임은 특히 중요한 요소로 부각된다고 볼 수 있다. 소쉬르(Saussure)가 설명한 기표와 기의의 관계처럼 이미지의 표현과 형식은 그 내용과 서로 제약을 주는 반면 상호 보완에 의해 하나의 기호로서 수용된다. 이는 움직임 역시 그 형식적 특성이 메시지가 담고 있는 내용에 어떠한 관여를 할 것이라는 추론을 가능하게 한다. 이를 분석하기 전 먼저 게슈탈트이론 중 '그룹핑의 원리'를 이론적 근거로 하여 동영상 시지각 실험을 실시하여 움직임과 타 조형요소의 관계를 조사하였다. 그 결과 약 70-80%의 피실험자가 '움직임'을 지각 상 중요한 그룹핑 단서로 생각하는 것으로 나타났다. 이러한 형식적 특성을 토대로 동영상의 구조를 분석했을 때 움직임은 커뮤니케이션 과정에서 메시지의 의미의 맥락을 유지하는데 영향을 준다. 사람이나 사물, 배경의 형태와 색 등이 변하더라도 움직임이 유사한 지향점을 가지면 그 대상의 정체성은 유지될 수 있다. 둘째, 움직임에 의해 형상(figure)으로서 대상이 부각되므로 내용의 명료성을 높여준다. 셋째 추후 정보처리에 있어서 유사한 움직임의 진행을 예측할 수 있는 지식표상으로 작용하게 된다. 넷째, 교차편집과 같이 둘 이상의 씬이 빠르게 전환되고 복잡한 편집구조를 가지더라도 움직임이 내용에 일관성을 부여하는 성격을 갖는다. 움직임은 기본적인 시지각적 반응으로서 입력되는 시각정보를 그룹화시키는 하나의 단서가 된다. 또한 영상 메시지의 구조적인 틀을 형성하는데 관계하여 자칫 현란하고 남용될 수 있는 시각적 표현에 질서를 부여하고 의미 작용에 명료함을 높이는 효율성을 가진다. 동영상은 본질적으로 시간성을 내포하므로 다수의 단위 구조가 조합된 담화를 가지며, 미디어믹스 환경에 의해 공통적이면서도 차별화된 표현이 요구되고 있다. 따라서 본 연구는 게슈탈트 이론의 그룹핑 원리를 동영상 범주로 확대하여 적용해 봄으로써 움직임이 다른 조형요소보다 부각되는 속성이 됨과 의미구조 형성에 영향을 줌을 분석하였으며, 이는 미디어 특성에 따라 각 영상분야에서 구조적 조형미와 새로운 영상표현을 개발하는 관점이 될 수 있음을 제안한다.

• 대한음성학회:학술대회논문집
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• 대한음성학회 1997년도 7월 학술대회지
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• pp.228-229
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• 1997

1 Intonation is important. It cannot be ignored. To convince students of the importance of intonation, we can use sentences with two very different interpretations according to intonation. Example: "I thought it would rain" with a fallon "rain" means it did not rain, but with a fall on "thought" and a rise on "rain" it means that it did rain. 2 Although complex, intonation is structured. For both teacher and student, the big job of tackling intonation is made simpler by remembering that intonation can be analysed into systems and units. There are three main systems in English intonation: Tonality (division into phrases) Tonicity (selection of accented syllables) Tone (the choice of pitch movements) Examples: Tonality: My brother who lives in London is a doctor. Tonicity: Hello. How ARE you. Hello. How are YOU. Tone: Ways to say "Thank you" 3 In deciding what to teach, we must distinguish what is universal from what is specifically English. This is where contrastive studies of intonation are very valuable. Usually, for instance, division into phrases (tonality) works in broadly similar ways across languages. Some uses of pitch are also similar across languages - for example, very high pitch may signal excitement or urgency. 4 Although most people think that intonation is mainly about pitch (the tone system), actually accent placement (tonicity) is probably the single most important aspect of English intonation. This is because it is connected with information focus, and the effects on interpretation are very clear-cut. Example: They asked for coffee, so I made them coffee. (The second occurrence of "coffee" must not be accented). 5 Ear-training is the beginning of intonation training in the VeL approach. First, students learn to identify fall vs rise vs fall-rise. To begin with, single words are used, then phrases and sentences. When learning tones, the fIrst words used should have unstressed syllables after the stressed syllable (Saturday) to make the pitch movement clearer. 6 In production drills, the fIrst thing is to establish simple neutral patterns. There should be no drama or really special meanings. Simple drills can be used to teach important patterns: Example: A: Peter likes football B: Yes JOHN likes football TOO A: Mary rides a bike B: Yes JENny rides a bike TOO 7 The teacher must be systematic and let learners KNOW what they are learning. It is no good using new patterns and hoping that students will "pick them up" without noticing. 8 Visual feedback of fundamental frequency with a computer display can help students learn correct patterns. The teacher can use the display to demonstrate patterns, or students can practise by themselves, imitating recorded models.

• 복식
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• 제53권2호
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• pp.153-169
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• 2003

I think that apparel attaches importance to the degree of satisfaction of visual expression in one ornamental culture in which it is clothed on human body. whereas a tattoo attaches more importance to part of the expression of one's own identity in the same context. However. modern tattooing act was highlighted only as an element of act which was negative in the purpose and the degree of taste or which assumed the grotesque meaning of a particular group. away from pure concepts such as simple ornament or an amulet according to the flow of the world. A tattoo is gradually being seen as one of avant-garde methods of art again these days, and TATTOO LOOK is being popularized as street fashion as an effective method of one's own satisfied desires and peculiar expression of personality. I have got the following conclusions as the result of having studied on a tattoo which is establishing itself as another plastic art that is matchable with the fashion of dress and its ornaments in which human incessant instinctive desire for the ornament of body has been beyond nostalgia for the past and simple ornament which were pure in up-to-date modern society First, a tattoo is of personality. In that it solidifies one's own personality of another side by being transformed, one's own attraction can be transferred to a fashion tattoo with which one can emit one's own personality. Secondly. a tattoo is fashion. As a new body ornament called transformation by a tattoo was emerging, the fashionableness owned by a tattoo had in its area ample room for the fashionableness with which it can coexist with the culture of dress and its ornaments. Thirdly. a tattoo is popularized. TATTOO LOOK in which one's own satisfied desires and the expression of personality are properly applied is being recently transmitted easily everywhere in the world and popularized as street fashion. Fourthly, a tattoo is not depraved art. It's because of the point that a tattoo which had been recognized only as a decadent expression in which avant-garde elements of unknown nationality appeared mixed showed the possibility that it could establish itself as fashion art. If we go on studying and complementing the problems of individual sides about a tattoo also in the future, the infinite fashionableness for the elements called personality. sense and emotion owned by a tattoo suggested ample possibility as future industry to be highlighted.

• 여성건강간호학회지
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• 제1권2호
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• pp.222-243
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• 1995

The purpose of this study was to develop concrete and in-depth knowledge about menarche and to raise the need of menstrual education. The data were collected from purposively sample 34 women from twenties to forties from April 27 to October 10, 1994. Semi-structured intensive interviews were done and these qualitative data were analysed with "Ethnograph" computer program. The results of the study were as follows : 1. The experience of menarche could be classified into two main groups, which were positive and negative response to menarche. The negative experiences were to be shameful, tearful, scared of the phenomena and thought as a kind of punishment for guilt or confused menarche with other symptoms of diseases. On the contrary, the positive experiences were to be proud of physical maturity and to think that is was wonderful, miraculous and to perceive it as a warm experience. 2. The experience of menarche was influenced by various factors. They were the knowledge about menstruation, the quality and amount of informations, the time of menarche, the environmental factors, the response of significant others toward menarche. The experience of menarche could be positive or negative according to these factors. 3. The previous information sources about menstruation could be significant others, school education and mass-media. The significant others were mothers, sisters, friends and the person in charge of school sex education such as school nurses, home economics, military drill and athletics of teachers. And mass-media included sex education booklets, nursery tales, TV programs, and publicity activities of sanitary napkin companies. 4. The opinions of the subjects about the proper time of menarcheal education could be grossly classified into two groups. The first was active approach toward children when they were in elementary school. The second was passive approach which postponed the time until the child ask about it, because it would be awkward for them to discuss about the topic. 5. The participants thought that the ideal methods of menarche education would be systematic school education programs, open discussion with daughters, audio-visual teachings, or practical education in everyday life. 6. The contents of the menarche education based on the participants' opinions, would be positive details about meanings and functions of menstruation. And it would be desirable if the attitudes of the person in charge of education could be positive, open-hearted, and favorable toward menstruation.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.84-91
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• 2012

The total data of observing interior space was divided into a few time frames for analysis. If we can understand the changing process of observation degree as the observation time passes, we will be able to analyse the characteristic and process of information obtainment in the case of space observation. For this purpose, the observation time was parted into 30 second units and the changing characteristic by time frame and observation area was analysed. The conclusion derived from this study is as the following: First, analysis of observation frequency and time on the basis of the average data of each subject showed that the observation time increased compared with the subject's frequency and the overall trend but that it was difficult for me to think there was a certain trend in the observation time of each subject. However, when I examined the time change by using the trend line which is a dynamic average line representing the observation time from the subjects as the trend element of time series, I could see the trend that the subject's observation time increased at a fixed rate as the frequency increased. Second, when I compared and analysed the average observation area at Area I set up by the time of 30 second unit and the observation area of Area I from the all data, I could see that the former had more degree of concentration at Area I. This analysis enabled me to get the degree of concentration on the observed area every time, and accordingly I could also see that when the data of intensive observation by time frame is analysed, the degree of concentration is dispersed for the subjects to observe very intensively or the area with overlapping observations each time frame can be seen as Area I out of the entire observation data. Third, when I analysed the observation characteristics by time frame at the 6 areas divided at 30 second unit at the rate of the number to the time of observation areas, I could see that as the observation time passed while the number of the observation areas defined as decreased the observation time increased, which means that when the area numbers decreases the area intensively observed by the subjects decreases as the time passes. In spit of that, the increase of time can be interpreted as more intensive observation of a specific area.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 만화애니메이션 연구
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• 통권40호
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• pp.177-209
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• 2015

만화에서 공간의 역할은 곧 영화에서 시간의 역할과 비교된다. 그렇기에 만화의 서사성은 공간과 불가분의 관계에 놓여 있고, 공간 구성이 중요성을 띠게 된다. 만화의 공간은 여러 개의 칸과 칸새가 인접, 병렬되어 다수의 프레임으로 구성되어 있는데, 디지털 만화에서는 칸과 칸 사이의 결집력이 상대적으로 약해지고 칸이 독립적인 프레임을 이루는 경향이 크지만, 페이지 만화에서는 여전히 칸이 모여 이뤄내는 장의 개념이 강조된다. 시각 매체에서 공간의 기본 틀을 구성하는 우선된 요소는 어두움과 밝음 즉 명암으로, 이는 만화 뿐 아니라 다른 시각 매체에도 고려해야 할 주요 조형 요소 가운데 하나이다. 만화에서도 이미지 구성을 위해 명암의 중요성이 강조되는데, 타매체와는 다르게 극단의 흑색과 백색의 사용이 두드러지는 것이 특이할 점이다. 매체적 측면으로는 판화를 배급 기반으로 했던 만화의 태생적 환경과, 형식적 측면으로는 만화 언어의 가독성을 바탕으로 자연스레 흑백의 이미지 사용이 이끌어졌다. 흑백 만화는 인쇄술의 발전과 컬러 만화의 등장으로 완전히 사라진 것이 아니라 여전히 창작되고 읽혀지는데, 이는 컬러 만화에서 표현하기 어려운, 흑백 만화만이 갖는 의미와 효과가 있다는 것을 뒷받침 한다. 만화의 흑백 표현은 색상에 대한 정보의 누락이라 저평가되지 않고 오히려 높은 가독성, 형식 언어의 강조와 이미지의 모던함을 불러온다. '만화에 있어 흑과 백은 실체적인 색이 아니라 상징적 의미를 포괄하는 복합적 요소'이며 형상의 '존재와 부재'를 드러내는 개념으로서 기능하고 있기 때문이다. 이 연구는 만화의 환경이 디지털화되면서 자칫 간과할 수 있는 흑백의 표현이 가져다주는 의미와 기능, 역할을 재조명하는 데에 그 목적을 두려한다. 흑백의 다양한 이미지와 형상을 통해 만화의 형식적 공간이 어떻게 구성되고 채워지며 서사전달이 구체화 되는가를 실제의 작품을 예시로 분석하고 파악한다.