• Journal of Chest Surgery
• /
• v.42 no.1
• /
• pp.96-99
• /
• 2009

We report here on a case of a ruptured sinus of a valsalva aneurysm into the left ventricle with the rupture site communicating with both the left coronary sinus and the noncoronary sinus in a 37-year-old male who presented with symptoms of congestive heart failure. Echocardiography showed a sac-like structure around the sinus of valsalva, an enlarged left ventricle (LV) and severe aortic regurgitation, which all suggested a ruptured sinus of a valsalva aneurysm or an aortic-left ventricular tunnel. The operative findings revealed that both the left coronary sinus and the noncoronary sinus had an opening into the left ventricle. The proximal opening into the LV was closed with bovine pericardium and the aortic root was replaced with a composite graft (a 21 mm St. Jude Epic Supra tissue valve and a 24 mm Hemashild graft) by the modified Bentall procedure. The patient was discharged on the 15th postoperative day, and he was regularly followed up for 2 months. We report on this case due to its rarity and to describe the surgical repair techniques.

• Journal of the Institute of Electronics Engineers of Korea SD
• /
• v.40 no.6
• /
• pp.447-458
• /
• 2003

A high speed multiplier is essential basic building block for digital signal processors today. Typically iterative algorithms in Signal processing applications are realized which need a large number of multiply, add and accumulate operations. This paper describes a macro block of a parallel structured multiplier which has adopted a 32$\times$32-b regularly structured tree (RST). To improve the speed of the tree part, modified partial product generation method has been devised at architecture level. This reduces the 4 levels of compression stage to 3 levels, and propagation delay in Wallace tree structure by utilizing 4-2 compressor as well. Furthermore, this enables tree part to be combined with four modular block to construct a CSA tree (carry save adder tree). Therefore, combined with four modular block to construct a CSA tree (carry save adder tree). Therefore, multiplier architecture can be regularly laid out with same modules composed of Booth selectors, compressors and Modified Partial Product Generators (MPPG). At the circuit level new Booth selector with less transistors and encoder are proposed. The reduction in the number of transistors in Booth selector has a greater impact on the total transistor count. The transistor count of designed selector is 9 using PTL(Pass Transistor Logic). This reduces the transistor count by 50% as compared with that of the conventional one. The designed multiplier in 0.25${\mu}{\textrm}{m}$ technology, 2.5V, 1-poly and 5-metal CMOS process is simulated by Hspice and Epic. Delay is 4.2㎱ and average power consumes 1.81㎽/MHz. This result is far better than conventional multiplier with equal or better than the best one published.

• Iberoamérica
• /
• v.21 no.2
• /
• pp.53-81
• /
• 2019

Generally, the image of Colombia is constituted as a dangerous country in war against guerrillas and with greater cocaine production. The massacre of Bojayá, taken to the theater work Kilele by Felipe Vergara which forms the object of analysis of this paper, was an event that has most affected the sensitivity of Colombia in the first decade of the 21st century due to the absurdity of its occurrence and the magnitude. The work Kilele not only represents the social drama of Bojayá as a bitter and nightmare past, but breaks the veil of death and communicate with the souls that, according to their beliefs, still hang in limbo. The main goal of this act is to go to reintegration of fractured society, celebrating a funeral rite worthy of the deads that wander various spaces of limbo. This article analyzes the epic structure in Kilele, rituals related to the African spirituality, and the fragmentary structure of the work. Finally this paper intends to reveal how it helped to recover from the trauma of the massacre.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.257-290
• /
• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.419-449
• /
• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• The Southeast Asian review
• /
• v.21 no.2
• /
• pp.263-291
• /
• 2011

The purpose of this study is to see and compare the contemporary Korean-Thai female poems from a feminine standpoint to newly clarify the textuality of their poems. The textuality defined in this manuscript is the text of Korean-Thai contemporary female poems. To newly clarify the textuality of their poems are to go against the existing discussion method and to newly read out the text as re-vision method. This discussion is to analyse deeply how the central exis composing a text which is the identity of woman in a body, appearance of uttrance, or action of abjection is exposed in gender space and to identify the poem's textuality. In other words, through in-depth analysis of the text of poems, which are very complicated as a skein of yarn, place a high value of Korean-Thai female poems. Transcending time, nations and races, if the text of female poem would not free from a biased male-dominated thinking or make a mystery of female poem textuality without critics or tend to be stereotype the text of poem as pathos of female, it would not get out from man-centered reading. To escape from the state of sexual discrimination, the new reading method was seriously analysed and found out that the female text poems not only implicate sexual discrimination but also link to expansive cultural and social structure. And for that reason, this study raise a question to male-dominant sexual discriminated norm. It is very significant that through this elaborate and in-depth text poem analysis, a creation process of female poem is traced. Eventually, the comparative study on Korean-Thai female poems is meaningful and worthy in regard to the contribution to promotion of cultural exchange between korea-Thai two nations and furthermore extend to East Asia to make a basement for the vitalization of Asia comparative literature.

• Journal of Digital Convergence
• /
• v.19 no.7
• /
• pp.349-358
• /
• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.

• Journal of Digital Convergence
• /
• v.20 no.4
• /
• pp.553-563
• /
• 2022

In the multimedia era and contemporary art, the expression of narrative is expanding in various ways based on formal theory. And the expression form is maximized according to the use of each medium. In terms of understanding artworks, an approach that combines various expressions and media using these narratives is also possible. Therefore, this study analyzed the works of the artists by selecting three artists, Sadic Guissi Alfrazi, Lindsay Sears, and Kara Walker, who fused the media using narrative structures. Through this, it was intended to present the artistic value and significance of the work and the possibility of expanding the narrative expression of contemporary art in the future. As a result of the analysis of previous artists' works, it was shown that the phase of convergence can be derived by using the medium of narrative concepts beyond the dichotomy of content and form, confirming that digital technology and media development are changing the form of art. In addition, it was confirmed that the use of narrative structure facilitates media conversion. It is expected that discussions on the new paradigm of contemporary art will progress in the future.

• Annals of Hepato-Biliary-Pancreatic Surgery
• /
• v.26 no.3
• /
• pp.285-288
• /
• 2022

Three-dimensional (3D) modeling of the liver can be especially useful for both the surgeon and patient to understand the actual location of the tumor and planning the resection plane. Virtual reality (VR) can enhance the understanding of 3D structures and create an environment where the user can focus on contents provided. In the present study, a VR platform was developed using Unreal Engine 4 software (Epic Games, Potomac, MD, USA). Patient's liver based on magnetic resonance image was imported as a 3D model that could distinguish liver parenchyma, vascular structure, and cancer. Preoperative education videos for patients were developed. They could be viewed inside the VR platform. To evaluate the usefulness of VR education program for patients undergoing liver resection for hepatocellular carcinoma, a randomized clinical trial evaluating the knowledge and anxiety of the patient was designed. The case presented in this report was the first experience of performing the VR education program and examining the knowledge and anxiety using questionnaires. When the knowledge score increased, the anxiety score also increased after the education program. Based on findings of this pilot case study, the timing and place where the questionnaire will be answered can be modified for formal initiation of the randomized controlled study to examine the usefulness of VR in patient education.

• Journal of the Daesoon Academy of Sciences
• /
• v.50
• /
• pp.219-257
• /
• 2024

In this article The Woodcutter and the Fairy (나무꾼과 선녀) and Snake Bridegroom (구렁덩덩 신선비) are compared to explore the principles of conflict and harmony reflected in the 'separation-reunion' structure. These two works center on relationships; couples formed by the union of a divine being and an ordinary being. The woodcutter and his third daughter are the representatives of ordinary beings, while the fair maiden and the fresh rain are the representatives of divine beings, and the narrative emphasizes that the members of each couple are existentially different. This article focuses on the problems that arise due to existential differences in such relationships. Thus, in section 2, the narratives of The Woodcutter and the Fairy and Snake Bridegroom are shown to be based on the same structure. If the narrative of both works is analyzed centered on the relationship problem of couples, the sequence can be summarized as '(appearance and search) - encounter - connection - separation - reunion - test - passage.' And in this structure, the core of the narrative is especially contained in the 'separation-reunion' stage. The structure of a spouse leaving (separation) and a spouse returning (reunion) implies a reflection on the points that cause discord in a couple's relationship and the points that make unity possible. Accordingly, this article explores the narrative differences in the failure and success of reconciliation by examining how the 'leaver' and 'left-behind' spouses respond to this issue. In other words, it examines the factors that drive the process of relationship-change in the narratives of the two works, and attempts to capture the principles of reconciliation by capturing the causes of discord and the forces that bring about reconciliation. Through this, it can be found that The Woodcutter and the Fairy and Snake Bridegroom are works that convey the realization that a couple can continue their relationship by understanding and caring for the wishes of the world or the wishes of the other person. In other words, the two works tell readers that it is difficult to reach harmony through the will to continue the relationship, and that listening to the wishes of the world or one's spouse opens the way to true harmony.