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잇솔질이 제5급와동수복재의 표면조도와 마모에 미치는 영향
서영희,조규증 慶北大學校 齒科大學 1990 慶北齒大論文集 Vol.7 No.2
This in vitro study was done to evaluate the change of the surface roughness and the degree of wear of restorative materials for class Ⅴ cavities before and after toothbrushing. In this study, Durafill, Clearfil Posterior, Fuji-ionomer, ketac-silver, and Amalgam were used and 5,000 and 30,000 times of tooth-brushing were done using cross-brushing machine. The surface roughness were measured with Profilometer and weight loss were measured with Chyo balance. The results obtained were as follows, 1. The surface roughness value was highest in Fuji-ionomer group and lowest in Durafill group at measuring before and after toothbrushing(p<0.01). 2. The surface roughness were increased after toothbrushing in all groups except Amalgam group(p<0.01). 3. In all groups, there was no significant difference in the surface roughness between after 5,000 and after 30,000 times of tooth-brushing(p>0.05). 4. The percentage of weight loss after toothbrushing was greatest in Fuji-ionomer group followed by Ketac-silver group(p<0.05), and there was no significant difference among Durafill, Clearfil Posterior and Amalgam groups(p>0.05).
徐映姬 淸州大學校 1984 論文集 Vol.17 No.2
Expression of emotion has been a main thesis and object of the study on 'Art Expression'. This study focused at the existed concepts of expression, analytical specificity and characteristics on expression, meanings and semantical differences between 'actions' and 'movements', and the problems of 'aesthetic(beauty) achievement'. It is important that the understanding of cognitive processes of concept formation on 'actions' and 'movement' above all things. Specifically, the life world of dances (Tanz Lebenswelt) were constituted by variable actions and movements. Dance has its own notifiable signs and images through sincere performances. 'Pure dances' were not constructed and determined by mere 'acts', but a sequential units of 'movements' in general. Such typology of dance can be cognized and has understandable meaning. The body movements in dramatic artworks could not expresses exact actions. Body movements works in dramatic artwork important ways. But a movement expresses not automatically same as an action, but has its own concrete or symbolic meaning. The story-telling dances and movements expresses actions, and movement relates to action. But, in fact, it could not be distinguished for actions and movements are cognizable and phenomenological ones. It is only possible for conceptual dimensions. Recognition of a given movement in dance merely expresses a certain specific action, and the epistemological foundation of movement demands for explicit intelligence. These factors are major constituents for Art-formation. Important aesthetic achievement determined at the time of right integration of the above factors. And artwork has its identity and purity at this time also. The action what is emerged through 'my' expression will be influenced the formation of 'my-self' ('Ich-ness'). And then, what is making to 'me' will be developed by the fabrics of which cognizer's continual existence and experiences.
徐映姬 청주대학교 예술문화연구소 1988 淸藝論叢 Vol.2 No.-
How can we trace out changing vicissitudes of artistic currents in modern dance since the death of Isadora Duncan? And how can we properly reperiodize the plural process of developments in modern dance history? What are the substantial meanings of so-called 'post-modern dance'? This thesis focuses on to elucidate the artistic currents and meanings of post-modern dance. At first, this work begins at reperiodization and reconsiderations on the existed studies of western modern dance history. Secondly on the developmental process of post-modern dance and the third generation's choreographic maintenances. Thirdly on the interpretative limits and hermeneutic critics to post-modern dance. Major finding as results are as follows; 1. Artistic paradigms of modern dance has drastically changed from 1960s. 2. Artistic meanings of modern dance changes from primitive naturalism to methodological individualism. 3. Third generation's choreographers forces on to express symbolic protests and experimental trials in order to transform conservative meanings. 4. Major epistemological foundations of post-modern dance based on pre-generation's accumulative works. Their maintenances manifests not absolute autonomy of artist but artistic connections between interdisciplinary areas and paradigmatic continuations. 5. Performing patterns and characteristics of post-modern dance raises the problems of popularizing limits and communicative predicaments. These findings suggests for further researches from now on.