• Radiation Oncology Journal
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• v.19 no.1
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• pp.74-80
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• 2001

Purpose : Irradiation cones by using backscatter electrons are made for the treatment of superficial small lesions of skin, oral cavity, and rectum where a significant dose gradient and maximum surface dose is desired. Methods and Materials : Backscatter electrons are produced from the primary electron beams from the linear accelerators. The design consists of a cylindrical cone that has a thick circular plate of high atomic number medium (Pb or Cu) attached to the distal end, and the plate can be adjusted the reflected angle. Primary electrons strike the metal plate perpendicularly and produce backscatter electrons that reflect through the lateral hole for treatment. Using film and a parallel plate ion chamber, backscatter electron dose characteristics are measured. Results : The depth dose characteristic of the backscatter electron is very similar to that of the hard x-ray beam that is commonly used for the intracavitary and superficial lesions. The basckscatter electron energy is nearly constant and effectively about 1.5 MeV from the clinical megavoltage beams. The backscatter electron dose rate of $35\~85\;cGy/min$ could be achieved from modern accelerators without any modification. and the depth in water of $50\%$ depth dose from backscatter electron located at 6mm for $45^{\circ}$ angled lead scatter. The beam flatness is dependent on the slit size and the depth of treatment, but is satisfactory to treat small lesions. Conclusions : The measured data for backscatter electron energy, depth dose flatness dose rate and absolute dose indicates that the backscatter electrons are suitable for clinical use.

• Korean Journal of Social Welfare
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• v.58 no.2
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• pp.273-302
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• 2006

The introduction of cash payments for care is a distinct trend that characterizes changes in care policies since the 1990s. Recently, many developed countries have newly introduced or extended cash payments for care that allow care users to be able to plan themselves for their cares instead of receiving direct care services from the state. Cash payments for care can be said to be one of the alternative policies by which user choices are extended, and it becomes possible to establish demand-cantered care delivery systems more economically and effectively, hence addressing the issue of the financial limitations and rigid systems that are common in modern welfare states, which make it difficult to response to various needs. However, the design and administration of cash for care vary across different countries. Such variations of cash for care policies influence on the combination of consumerism (based on liberal market values intrinsic in the care market) and citizenship based on social solidarity. Those variations eventually produce impacts on the balance of responsibilities and the roles of families, the state and market regarding care in other words, balancing of welfare pluralism. This paper has attempted to find general meanings and particularity of cash for care polices in modem welfare states by means of looking at the characteristics of cash for care policies of four different countries (Netherlands, France, Germany and Italy) and their impacts on their care market. If the four countries are ranked by the degree that they emphasize citizenship in light with social rights, the Netherlands, France, Germany and Italy could be placed in due order. From an economic point of view and in terms of cost containment, those countries will be placed in an inverse order, It is apparent that in the course of planting cash for care policies in the existing social systems involving different socio-cultural conditions and labour markets, sometimes more emphasis is placed on the citizenship of care users, family carers and care providers than on cost containment issue, and sometimes vice versa. Behind this lies the process of different social valuation on what care is about; who can better deliver care; who should be responsible for care; how responsibilities should be shared and so on.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.3
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• pp.15-22
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• 2010

Today's rapid shifts toward a new paradigm are combining city spaces with reality and technology, which is known as a ubiquitous environment. An ubiquitous environment means that 'whenever' and 'wherever' become connected. It is a great possibility that this will change our future lifestyle. Korea has the biggest advantage in the implementation of this new environment, such as having an excellent network infrastructure. Using these attributes of a ubiquitous environment, changes are being made toward ubiquitous cities within developing fields of construction, landscaping, streets, art, and the environment. This research is based on background of research that activated media pole in public city space has been done research about reality of digital skill, fusion, and sense of ubitizen, and Kang-Nam U-street applied by ubiquitous technique. While reflecting an environment that can be utilized in a modern digital society, the application of ubiquitous technology to media pole can be a space for the two-way communication of the current paradigm. It would also be meaningful to create a new cultural space through media pole. Through evaluation, citizens of the ubiquitous age are going to interact to raise the satisfaction that media pole in city space can prevent giving direction to develop and trial and error about service ability, identity, and publicity. Finally, the media pole can be used as a fundamental element to suggest directions for change when viewed as future development.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.49-63
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• 2010

This study was intended to analyze and interpret the pattern of naming the domestic apartment brand from a semiologic viewpoint in a bid to review the meaning and value of apartment brand, while on the other hand, evaluating the characteristics of persuasive message pursued by current apartment brand in 2010, and consequently, the conclusion of the study is outlined as follows. 1. As a result of analyzing the coinage of branding naming, the words such as combination, joint and blending pattern tended to dominate, which seemed to attempt to represent the variety of values of the housing culture. Brand ideation tends to stress the character symbolism and polysemic message using syllepsis, and the experimental attempt to revive the traditional dwelling concept in a modern sense in a way of combining the archaic word with the Chinese character was found as well. 2. As a result of analyzing the frequency of verbal identity and lexeme of domestic apartments, those frequently used are in order of ville, nature, beauty(美), park, hi, green, palace(宮), nobility and center(tra), which are the lexemes representing the landscape, view, nature and dignity. 3. As a result of identifying the pattern of lexeme using analysis frame based on existing researches such as apartment brand positioning, the most important external core concepts controlling the direction and value of apartment brand are 'environment-orientated' and 'emotion-orientated', and internally, 'function-oriented'. Given the persuasive language expressing the 'environment-oriented' feature and the priority of brand lexeme are garden, park, view and the nature, a landscape-oriented persuasive message is seen to be surging in brand naming. 4. An emotion-oriented persuasive language such as dignity axis having major lexeme represented by palace, nobility, class and a pride axis having major semantic elements represented by human, I and you are used as major value concepts and persuasive language that lead domestic apartment brands to differentiation and upgradation. 5. Among the lexemes focusing on view from environment-oriented standpoint, hi, hill, tower, view, mark, heights are the trend pursued by high-rise apartment aiming at the view such as residential-commercial apartment, and thus the persuasive language focusing on high-rise concept is expected to become the element dominating the trend of apartment brand for the time being.

• Journal of Intelligence and Information Systems
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• v.20 no.3
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• pp.133-149
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• 2014

One of the main purposes of universities is to create new intellectual resources that will increase social values. These intellectual resources include academic research papers, lecture notes, patents, and creative ideas produced by both professors and students. However, intellectual resources in universities are often not distributed to the actual users or companies; and moreover, they are not even systematically being managed inside of the universities. Therefore, it is almost impossible for companies to access the knowledge created by university students and professors to utilize them. Thus, the current level of knowledge sharing between universities and industries are very low. This causes a great extravagant with high-quality intellectual and human resources, and it leads to quite an amount of social loss in the modern society. In the 21st century, the creative ideas are the key growth powers for many industries. Many of the globally leading companies such as Fedex, Dell, and Facebook have established their business models based on the innovative ideas created by university students in undergraduate courses. This indicates that the unconventional ideas from young generations can create new growth power for companies and immensely increase social values. Therefore, this paper suggests of a new platform for intellectual properties distribution with university-industry cooperation. The suggested platform distributes intellectual resources of universities to industries. This platform has following characteristics. First, it distributes not only the intellectual resources, but also the human resources associated with the knowledge. Second, it diversifies the types of compensation for utilizing the intellectual properties, which are beneficial for both the university students and companies. For example, it extends the conventional monetary rewards to non-monetary rewards such as influencing on the participating internship programs or job interviews. Third, it suggests of a new knowledge map based on the relationships between key words, so that the various types of intellectual properties can be searched efficiently. In order to design the system platform, we surveyed 120 potential users to obtain the system requirements. First, 50 university students and 30 professors in humanities and social sciences departments were surveyed. We sent queries on what types of intellectual resources they produce per year, how many intellectual resources they produce, if they are willing to distribute their intellectual properties to the industries, and what types of compensations they expect in returns. Secondly, 40 entrepreneurs were surveyed, who are potential consumers of the intellectual properties of universities. We sent queries on what types of intellectual resources they want, what types of compensations they are willing to provide in returns, and what are the main factors they considered to be important when searching for the intellectual properties. The implications of this survey are as follows. First, entrepreneurs are willing to utilize intellectual properties created by both professors and students. They are more interested in creative ideas in universities rather than the academic papers or educational class materials. Second, non-monetary rewards, such as participating internship program or job interview, can be the appropriate types of compensations to replace monetary rewards. The results of the survey showed that majority of the university students were willing to provide their intellectual properties without any monetary rewards to earn the industrial networks with companies. Also, the entrepreneurs were willing to provide non-monetary compensation and hoped to have networks with university students for recruiting. Thus, the non-monetary rewards are mutually beneficial for both sides. Thirdly, classifying intellectual resources of universities based on the academic areas are inappropriate for efficient searching. Also, the various types of intellectual resources cannot be categorized into one standard. This paper suggests of a new platform for the distribution of intellectual materials and human resources, with university-industry cooperation based on these survey results. The suggested platform contains the four major components such as knowledge schema, knowledge map, system interface, and GUI (Graphic User Interface), and it presents the overall system architecture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.18 no.5
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• pp.17-32
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• 2023

The entrepreneurial activities of college students play a significant role in modern economic and social development, particularly as a solution to the changing economic landscape and youth unemployment issues. Introducing innovative ideas and technologies into the market through entrepreneurship can contribute to sustainable economic growth and social value. Additionally, the entrepreneurial intentions of college students are shaped by various factors, making it crucial to deeply understand and appropriately support these elements. To this end, this study systematically explores the importance and impact of role models through a multiple serial mediation analysis. Through a survey of 300 college students, the study analyzed how two psychological variables, growth mindset and entrepreneurial self-efficacy, mediate the influence of role models on entrepreneurial intentions. The presence and success stories of role models were found to enhance the growth mindset of college students, which in turn boosts their entrepreneurial self-efficacy and ultimately strengthens their entrepreneurial intentions. The analysis revealed that exposure to role models significantly influences the formation of a growth mindset among college students. This mindset fosters a positive attitude towards viewing challenges and failures in entrepreneurship as learning opportunities. Such a mindset further enhances entrepreneurial self-efficacy, thereby strengthening the intention to engage in entrepreneurial activities. This research offers insights by integrating various theories, such as mindset theory and social learning theory, to deeply understand the complex process of forming entrepreneurial intentions. Practically, this study provides important guidelines for the design and implementation of college entrepreneurship education. Utilizing role models can significantly enhance students' entrepreneurial intentions, and educational programs can strengthen students' growth mindset and entrepreneurial self-efficacy by sharing entrepreneurial experiences and knowledge through role models. In conclusion, this study provides a systematic and empirical analysis of the various factors and their complex interactions that impact the entrepreneurial intentions of college students. It confirms that psychological factors like growth mindset and entrepreneurial self-efficacy play a significant role in shaping entrepreneurial intentions, beyond mere information or technical education. This research emphasizes that these psychological factors should be comprehensively considered when developing and implementing policies and programs related to college entrepreneurship education.

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.