• Korean Journal of Cognitive Science
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• v.18 no.2
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• pp.159-178
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• 2007

Lee & Kang (2002) showed that simultaneous phonological rehearsal significantly delayed the performance of multiplication but not subtraction, whereas holding an image in the memory delayed subtraction but not multiplication. This result indicated that arithmetic function is related to working memory in a subsystem-specific manner. The aim of the current study was to examine the neural correlates of previous finding using fMRI. For this goal, dual task conditions that required suppression or no suppression were manipulated. In general, several areas were more activated in the interference conditions than in the less interference conditions, although both conditions were dual condition. More important finding is that the specific areas activated in the phonological suppression rendition were right inferior frontal gyrus, left angular, and inferior parietal lobule, while the areas activated in the other condition were mainly in the right superior temporal gyrus and anterior cingulate gyrus. Furthermore, the areas activated in the phonological or visual less suppression condition were right medial frontal gyrus, left middle frontal gyrus, and bilateral medial frontal gyri, anterior cingulate cortices, and parahippocampal gyri, respectively. These results revealed that sharing the processing code invokes interference, and its neural basis.

• (The) Research of the performance art and culture
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• no.22
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• pp.93-121
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• 2011

This article is concerned with the withdrawal of the compositional principle of Jinogigut which has been performed in Seoul and the identification of its meaning based on the withdrawal. Jinogigut is a world where a god is connected to humans in complicated manners, this world and the world of the dead coexist, and it is a process of demonstrating that the dead, who have stayed in the world of humans, enter the world of a god. Jinogigut shows the process of leading the dead to the world of the dead one after another. First, the god-centered street is continued, and the gut displays through which process a god will guide the dead to the world of the dead. Next, is a human-centered street, which exhibits the appearance of the dead heading to the world of the dead following the death angel, more in detail. Finally, a human-centered structure shows how humans enter the world of the dead. Through this repetition, it reveals that the dead take a seat in the world of the dead, at last. The organization of the later part of the world of the dead-oriented gut in Jinogigut, which is god-centered, continues to a human-centered gut through the meeting between a god and humans. and , which are continued, followed by , are ceremonial rituals that confirm the dead entering the world of the dead without any problem. Begareugi shows that the entering of the dead into the world of the dead was completed with perfection by cutting hemp cloth, and informs the living that the dead expressed gratitude for holding the ritual for him/her by appearing at the venue of the gut once again and that the dead settled into the world of death. , which finally holds ancestral rites to the god of ancestors who is seated in the world of the dead, reveals that the dead, who had been a human, has been transformed into the god of ancestors through Jinogigut. Jinogigut also performs the function of comforting a client (who is the family of the dead) of the gut, who has faced a sudden death in his/her family. What is the most important for consoling the client is to display that the dead has entered the world of the dead without any problem. Jinogigut shows this process through a three-layered structure. It exhibits how the dead would be moved to the world of gods, as well as the safe entering of the dead who followed Jeoseung-saja(envoy from the world of the dead) and who had appeared to this world from the world of the dead. Then, it demonstrates again the appearance of the dead entering the world of the dead following Barigongu; thus, it placates the heart of the client's family.