• 복식
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• 제39권
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• 대한물리치료과학회지
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• 제10권1호
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• pp.222-231
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• 2003

The ACL(Anterior cruciate ligament) is the smallest of the four main ligaments of the knee, but it is the primary stabilizer. Injuries have a tendency to occur when the foot is firmly planted and the knee is twisted. Any sports that requires acceleration, change of direction and deceleration can increase the chances of suffering an ACL tear. The incidence of severe knee sprains that involve the ACL are at an all-time high. Since 1980, the number of these injuries have increased at least three-fold. Although the rate of increase has been much less dramatic since the middle 1980s, even the ultra-modem releasable ski binding has not been able to start reducing the incidence of ACL injuries. An ACL injury prevention program developed for downhill skiers by the Vermont Safety Research group emphasized increasing awareness of situations that can potentially result in an ACL injury and pre-planning strategies if events, leading to these situations, begin to fall in place. As part of the above study by Ettlinger et al., an educational prevent program was developed to teach these principles and thus reduce the rate of serious knee injuries. Four thousand instructors and patrol at 20 ski resorts who received the training had a 62% decline in serious knee injuries compared to a similar group that did not receive this training. Whenever you fall, try not to fully straighten your legs. Don't try to get up until you've stopped sliding(unless you are try to avoid an obstacle or other skier). When you're down, stay down. And don't land on your hand. So, if you feel yourself falling: arms forward, ski plates together, hands over knee. Then you will be able to save your ACL.

• 한국산학기술학회논문지
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• 제17권1호
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• pp.493-507
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• 2016

본 연구는 기업가정신과 창업의지의 연관성에 관한 기존연구들을 기반으로 하여 창업기회인식의 중요성을 매개변수로써 새롭게 검증함과 동시에, 창업의지와 함께 창업행동을 일으키는데 주요 요인으로 부각되고 있는 창업효능감을 종속변수에 추가함으로써, 대학 내 학생들의 창업효능감과 창업의지를 함께 고취시킬 수 있는 요인들에 대하여 보다 심도 있고 폭넓게 검증하였다. 본 연구는 서울 경기도 인천의 대학생 373명을 대상으로 설문조사결과 수집된 자료를 분석하였으며, 연구의 결과는 다음과 같다. 첫째, 기업가정신이 창업효능감과 창업의지에 부분적으로 유의한 영향을 미치는 것으로 나타났다. 둘째, 기업가정신과 창업효능감 그리고 기업가정신과 창업의지 간에 창업기회인식의 매개효과가 입증되었다. 본 연구의 결과에 따라, 향후 창업효능감 및 창업의지를 고취시키기 위한 대학 창업 교육 커리큘럼을 설계하는 데 있어서 최근 확산되고 있는 기업가정신에 대한 교육과 아울러, 창업기회인식에 대한 적극적이고 체계적인 교육 시도가 필요하다고 말할 수 있다.

• Child Health Nursing Research
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• 제5권1호
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• pp.48-58
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• 1999

The purpose of this study was to determine the most accurate technique measuring the apical pulse rate, using three counting duration 15, 30 and 60 seconds, and two methods start ‘0’ and start ‘1’. The instrument used in the study was the EKG monitor, stethoscope and stopwatch. Data was analyzed by utilizing SPSSWIN program. General characteristics of the subjects were analyzed by frequency, percentile, mean, SD. The subject of this research is made up of 46 children and 20 nurses. The children were infants, & under the age of 5. They were hospitalised in PICU & NICU in 2 tertiary hospitals in seoul from Jan. 1. 1998 to Sep. 10. 1998. The measurement of starting 1 & measurement of starting ‘0’ used the T-test to find out the measurement error. Apical pulse duration of 15, 30, 60 seconds were used to find out measurement error, the measurement error depend on experience of Nurse were analyzed by using ANOVA. The result of this study are as follows. 1. When comparing the starting poin of apical pulse 0&1, starting with 1 the measurement error is less, but not statiscally significant. 2. When counting the apical pulse by 15, 30,60 sec. ; 60 seconds counting duration was more accurate, but not statistically significant. 3. The mean of measure error ; Group under 100/min, is 10.33 ; from 100 re 119/min, is 8.30 ; from 120 to 139/min, is 4.76 ; from 140 to 159/min, is 6.09 ; above 160, is 17.83. The differences of these groups are statistically significant. When 60sec were counted, under 140/min the mean of measurement error is 3.4. Also when 30 seconds were counted from 140/min to 159/min the measurement error is 7.14, above 160/min the measurement error is 16.4. That measurement mean is the smallest than the other durations. During the 15 sec. count the measurement error was the largest of them all. 4. By the experience of the nurses, the apical pulse count measurement error was discovered. Under a year experience this measurement error was the largest(11.09), 1 year to under 3 years, the error is the smallest(4.86). 3 year to under 6 years the error is 8.33, 5 years above the error is 6.11 but this is not statistical significant. Under a year experience when counting 15, 30, 60 seconds the error is the largest. The group of the nurses from a year to under 3 years, the measurement error is the smallest of all the groups. The result of the study is to determine the technique measuring the apical pulse rate, Hargest (1974), starting point ‘0’ is not proved. When the pulse rate increases the 30 sec measurement rate is accurate. Under 140/min the 60 sec measurement rate is the most accurate. Depending on the nurses experiences, there is a variable difference to the apical pulse rate measurement. Especially new nurses training courses should enforce the children’s pulse rate count and the basic vital signs.

• 시큐리티연구
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• 제10호
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• pp.127-147
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• 2005

경호원들의 경호분류에 따른 직무만족의 차이를 살펴보았다. 즉, 내재적 만족은 공경호와 수행경호, 공경호와 민간경호원간에 차이를 나타내었으며, 공경호의 경우 만족도(3.72)가 민간경호원 만족도(3.45), 수행경호 만족도(3.33)에 비하여 높은 결과를 나타내었다. 외재적 만족은 수행 경호와 민간경호에 비하여 높은 결과를 나타내었다. 이러한 결과에 따른 내재적 만족은 생활자체의 편안함으로 나타난 결과로 사료되며, 외재적 만족은 민간경호원들의 2인 1조의 영외생활로 인한 만족도로 사료된다. 경호원들은 경호분류에 따라 직업만족에 차이를 나타내었다. 앞서, 경호원들은 경호분류에 따라서 직무만족에 차이가 있는 결과를 나타내어 동일한 결과를 나타내었다. 또한 공경호와 수행경호, 민간경호원간의 차이를 나타내었으나 수행경호, 민간경호원은 차이를 나타내지 못하였다. 이러한 결과는 공경호의 경우 직책이 국가의 공무원 신분으로 분류되어 복지적 혜택의 테두리에 있어 만족도가 높은 것으로 사료된다. 그러나 수행경호, 민간경호원은 수입의 차이로 인해 복지혜택과 생활정도의 만족도와 연관성으로 인해 차이를 나타내지 못 한 것으로 사료된다. 결론적으로 분석결과에서 확인된 것과 같이 경호원들의 직무만족, 직무몰입, 조직몰입, 직업만족은 경호원들의 경호분류에 따라 차이가 있는 것으로 나타났다. 본 결과에 의해서 경호원들의 집단간의 직무만족과 조직몰입에 대해서는 상호간의 유의한 차이는 공경호와 민간수행경호, 민간경비원들의 간의 처우개선과 자질, 자격요건 등의 사회보장제도의 차별을 민간경호${\cdot}$경비분야에서도 공경호와 비슷한 수준의 사회보장 제도 및 질적 향상의 처우개선이 필요하겠다.

• 대한치과보철학회지
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• 제39권6호
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• pp.709-734
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• 2001

The aims of this experiment were to investigate the strain and temperature changes simultaneously within autopolymerzing acrylic resin specimens. A computerized data acquisition system with an electrical resistance strain gauge and a thermocouple was used over time periods up to 180 minutes. The overall strain kinetics, the effects of stress relaxation and additional heat supply during the polymerization were evaluated. Stone mold replicas with an inner butt-joint rectangular cavity ($40.0{\times}25.0mm$, 5.0mm in depth) were duplicated from a brass master mold. A strain gauge (AE-11-S50N-120-EC, CAS Inc., Korea) and a thermocouple were installed within the cavity, which had been connected to a personal computer and a precision signal conditioning amplifier (DA1600 Dynamic Strain Amplifier, CAS Inc., Korea) so that real-time recordings of both polymerization-induced strain and temperature changes were performed. After each of fresh resin mixture was poured into the mold replica, data recording was done up to 180 minutes with three-second interval. Each of two poly(methyl methacrylate) products (Duralay, Vertex) and a vinyl ethyl methacrylate product (Snap) was examined repeatedly ten times. Additionally, removal procedures were done after 15, 30 and 60 minutes from the start of mixing to evaluate the effect of stress relaxation after deflasking. Six specimens for each of nine conditions were examined. After removal from the mold, the specimen continued bench-curing up to 180 minutes. Using a waterbath (Hanau Junior Curing Unit, Model No.76-0, Teledyne Hanau, New York, U.S.A.) with its temperature control maintained at $50^{\circ}C$, heat-soaking procedures with two different durations (15 and 45 minutes) were done to evaluate the effect of additional heat supply on the strain and temperature changes within the specimen during the polymerization. Five specimens for each of six conditions were examined. Within the parameters of this study the following results were drawn: 1. The mean shrinkage strains reached $-3095{\mu}{\epsilon},\;-1796{\mu}{\epsilon}$ and $-2959{\mu}{\epsilon}$ for Duralay, Snap and Vertex, respectively. The mean maximum temperature rise reached $56.7^{\circ}C,\;41.3^{\circ}C$ and $56.1^{\circ}C$ for Duralay, Snap, and Vertex, respectively. A vinyl ethyl methacrylate product (Snap) showed significantly less polymerization shrinkage strain (p<0.01) and significantly lower maximum temperature rise (p<0.01) than the other two poly(methyl methacrylate) products (Duralay, Vertex). 2. Mean maximum shrinkage rate for each resin was calculated to $-31.8{\mu}{\epsilon}/sec,\;-15.9{\mu}{\epsilon}/sec$ and $-31.8{\mu}{\epsilon}/sec$ for Duralay, Snap and Vertex, respectively. Snap showed significantly lower maximum shrinkage rate than Duralay and Vertex (p<0.01). 3. From the second experiment, some expansion was observed immediately after removal of specimen from the mold, and the amount of expansion increased as the removal time was delayed. For each removal time, Snap showed significantly less strain changes than the other two poly(methyl methacrylate) products (p<0.05). 4. During the external heat supply for the resins, higher maximum temperature rises were found. Meanwhile, the maximum shrinkage rates were not different from those of room temperature polymerizations. 5. From the third experiment, the external heat supply for the resins during polymerization could temporarily decrease or even reverse shrinkage strains of each material. But, shrinkage re-occurred in the linear nature after completion of heat supply. 6. Linear thermal expansion coefficients obtained from the end of heat supply continuing for an additional 5 minutes, showed that Snap exhibited significantly lower values than the other two poly(methyl methacrylate) products (p<0.01). Moreover, little difference was found between the mean linear thermal expansion coefficients obtained from two different heating durations (p>0.05).

• 한국연극학
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• 제53호
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.