성장담 속의 ‘3 의 법칙’ – 이강백의 희곡

This paper focused on the structure of the growth stories, especially in surveying Gangbaek Lee’s (이강백) drama “Like Looking at the Flower in the Mid-winter (동지섣달 꽃 본 듯이)”. It is structured by ‘rule of the three’. In this text, three sons go to seek their mother, they experience the tests three times. Third son wins the game because he succeeds to find his true and alternative mother. It is similar to the story of English fairy tale “Three Little Pigs”.  In Freudian terms, the characters of the both texts are superego, ego and id. The core of the growth story is that third son (id) wins the first son (superego) and the second son (ego) by using his own energy (meaningful labor). In Levi Strauss’ terms, the contrast between the third and the others can be schemed the contrast between culture and nature. Lee’s drama presents the third son as the real hero who overcomes two elder brothers. The first is so conservative (oversleep), the second is so selfish (overeat). Two brothers were too political or too ideal to become a true, humanistic and warm-minded adult. In his view, ‘drama’ related to the third son is the most humanistic and warm-minded action in the world. These both stories are based on the plot ‘rags to riches’ which contains the success of the poor and powerless. In other words, the poor and weak child can grow to the true hero, and reach the final destination, according to the Gustav Jung’s expression, ‘the Self as a Whole’.본고는 이강백의 희곡 <동지섣달 꽃 본 듯이>을 성장담의 관점에서 읽고자 했다. 이 작품은 ‘3 의 법칙’에 입각하여 세 명의 인물이 세 개의 시련을 거쳐 자신의 최종 목적지인 ‘어머니 찾기’의 과제에 도달하는 구조를 가지고 있다. 이는 아직 미성숙의 단계에 머물러 있는 셋째 아이가 첫째, 둘째를 극복하고 훌륭한 영웅으로 성장하는 성장담에 속하는 것이며, 이는 영국 민담 <아기 돼지 삼형제>의 구조와 비슷하다. 프로이트의 용어를 빌면, 이강백의 희곡과 <아기 돼지 삼형제>에서 첫째는 초자아, 둘째는 자아, 셋째는 이드에 해당한다. 이들 성장담의 공통점은 이드에 불과했던 셋째가 의미있는 노동을 통해 자연을 극복하고 문명에 달한다는 이야기이며, 이는 레비 스트로스가 설정한 ‘문명:자연’의 구조와도 일치한다. 이강백의 희곡은 의미 있는 노동의 자리에 ‘연극’을 삽입함으로써, 첫째가 보이는 정치 지향성, 둘째가 보이는 관념 지향성을 극복하는 셋째의 인간적인 모습을 제시한다. 지나친 정치 지향, 지나친 관념 지향을 극복하는 셋째의 연극 행위는 지나친 잠 (첫째), 지나친 폭식 (둘째) 를 극복하는 셋째 돼지의 이야기와 중복되면서, 미약한 존재가 위대한 영웅으로 재탄생하는 ‘거지에서 부자로’의 플롯을 재현한다. 이제 미약한 존재는 구스타프 융의 개념을 빌면, ‘전체로서의 자기’에 도달한 셈이다

WYBRANE ASPEKTY LITERATURY KOREAŃSKIEJ W ŚWIETLE ETAPÓW WZROSTU GOSPODARCZEGO: NA PRZYKŁADZIE AMERYKI

Artykuł ma na celu przeanalizowanie wpływu wzrostu gospodarczego na ewolucję powieści koreańskiej w świetle teorii W. W. Rostowa. Koncentruje się na wizerunku Ameryki ukazanej oczami Koreańczyków. Początki stosunków Korei Południowej z USA datowane są na 1882 rok. W większości przypadków stosunki te były przyjacielskie, jednakże odnotowywano także podejścia krytyczne i mniej przychylne. Jest to typowe dla poszczególnych stadiów rozwoju gospodarczego. Obywatele państw słabszych gospodarczo często przejawiają silne postawy nacjonalistyczne w stosunku do krajów silniejszych, takich jak USA. Podobnie było z Koreą. Początkowo Koreańczycy podziwiali USA, ale z czasem zaczęli widzieć wady amerykańskiego modelu, co przełożyło się na coraz mniejsze i rzadsze porównywanie się do społeczeństwa amerykańskiego w obecnych czasach masowej komunikacji i społeczeństwa konsumpcyjnego. Jest to spowodowane upodobnieniem się sytuacji ekonomicznej w obu krajach. Mimo, że gospodarki Japonii, Korei i Chin szybko się rozwinęły, postawy krytyczne nie zanikły. Rozwiązaniem jest tzw. europejski sen, czyli postawa, w której jednostki znajdują poczucie bezpieczeństwa nie w gromadzeniu dóbr materialnych, lecz w budowaniu poczucia więzi i szacunku dla innych narodów. Autor postuluje, by w Azji nauczać podejścia tzw. europejskiego snu w stosunku do sąsiadujących państw.본고는 경제발전 단계에 대한 로스토우의 관점을 통해 경제발전이 어떻게 한국소설의 변화와 연결되는지 고찰하고자 한다. 본고는 논의의 집중을 위하여 미국에 대한 한국인의 태도 변화를 중심으로 다루었다. 한국은 1982년 한미수교 이후 130여년간 미국과 직접, 간접적인 관계를 맺어왔다. 이러한 긴 역사 속에서 한국은 미국에 대해 대부분 우호적, 협조적인 자세를 보이지만, 어떤 역사적 상황에서는 대립적, 비판적 태도를 보이기도 했다. 특히 민족주의적 감정이 고조되는 시점에서는 미국에 대해 비판적인 관점을 유지하는데, 이러한 태도는 사실 한국에만 국한된 것이 아니라 경제발전 단계에서 겪는 보편적인 경험이라고 볼 수도 있다. 초기의 한국은 미국에 대해 선망의 시선을 보이지만, 민족주의가 고조되는 ‘도약’의 단계에서는 미국에 대해 경쟁적, 비판적 관점을 보이기도 하며, 대량소비사회로 진입하는 1990년 이후에는 미국에 대한 특정한 시각보다는 자본주의 일반에 대한 비판으로 변화되는 양상을 확인할 수 있다. 일본, 한국, 중국은 이웃나라이면서 급속하게 민족주의 단계에서 대량소비사회로 넘어가는 길목에 놓여 있는 나라들이다. 본고에서는 이들이 편협한 민족주의 감정에서 벗어나는 길이 평화와 공존을 제시하고자 하는 유러피언 드림을 아시아에서 실천하는 길이라는 관점을 제시했다.The main topic of this paper is how the economic growth has changed the aspect of Korean novel in the viewpoints of the theory of W. W. Rostow. But the additional topic is Korean's viewpoint on American which had been reflected in Korean novels. Korea has made a long relationship to the United States since 1882. Korea have kept friendly and cooperative relationship to American. But sometimes the relationship was changed rapidly to the opponent or critical attitudes. It should be the universal phenomenon that the people of weak nations begin to have strong nationalistic feelings with the pace of economic growth and gather to show a strong enmity against the strong nation especially against the United States. According to this universal patterns, Korean admired American at first. But after rising to the stage of ‘take-off’, they began to turn to the opponent and critical attitudes. Finally at the age of high mass consumption, they will not compare to America any more because they belong to the similar economic situation. The economy of Japan, Korea and China rose up to higher level at the rapid speed. But the strong nationalistic feelings remained incessantly among their nations. The “European Dream” is one of the attitudes in which individuals find security not through individual accumulation of wealth, but through connectivity and respect for other nations. Our neighbouring countries and Korea must learn the attitudes of European Dream and try to establish this system in East Asia

CXR-LLAVA: a multimodal large language model for interpreting chest X-ray images

Purpose: This study aimed to develop an open-source multimodal large language model (CXR-LLAVA) for interpreting chest X-ray images (CXRs), leveraging recent advances in large language models (LLMs) to potentially replicate the image interpretation skills of human radiologists Materials and Methods: For training, we collected 592,580 publicly available CXRs, of which 374,881 had labels for certain radiographic abnormalities (Dataset 1) and 217,699 provided free-text radiology reports (Dataset 2). After pre-training a vision transformer with Dataset 1, we integrated it with an LLM influenced by the LLAVA network. Then, the model was fine-tuned, primarily using Dataset 2. The model's diagnostic performance for major pathological findings was evaluated, along with the acceptability of radiologic reports by human radiologists, to gauge its potential for autonomous reporting. Results: The model demonstrated impressive performance in test sets, achieving an average F1 score of 0.81 for six major pathological findings in the MIMIC internal test set and 0.62 for seven major pathological findings in the external test set. The model's F1 scores surpassed those of GPT-4-vision and Gemini-Pro-Vision in both test sets. In human radiologist evaluations of the external test set, the model achieved a 72.7% success rate in autonomous reporting, slightly below the 84.0% rate of ground truth reports. Conclusion: This study highlights the significant potential of multimodal LLMs for CXR interpretation, while also acknowledging the performance limitations. Despite these challenges, we believe that making our model open-source will catalyze further research, expanding its effectiveness and applicability in various clinical contexts. CXR-LLAVA is available at https://github.com/ECOFRI/CXR_LLAVA

Structural connectivity profile of scans without evidence of dopaminergic deficit (SWEDD) patients compared to normal controls and Parkinson’s disease patients

Background: In this study, we investigated the structural connectivity profile of patients with scans without evidence of dopaminergic deficit (SWEDD) compared with normal controls (NC) and patients with Parkinson’s disease (PD). An accurate understanding of SWEDD is important so that appropriate therapeutic options can be presented to patients. Methods: Diffusion magnetic resonance imaging of NC (n = 40), SWEDD (n = 40) and PD patients (n = 40) was obtained from a research database. Tractography, the process of obtaining fiber information was performed. Connectivity analysis was performed on 16 connections in the cortico-basal ganglia-thalamo-cortical circuit. Group-wise differences among NC, PD and SWEDD patients were quantified in terms of structural connectivity based on fiber density. Then, we investigated correlations with the clinical score using the Movement Disorder Society-Sponsored Unified Parkinson’s Disease Rating Scale (MDS-UPDRS). A support vector machine classifier and leave-one-out cross-validation were applied to separate the NC, SWEDD and PD groups. Results: Pallidum–putamen and sensorimotor cortex–putamen connections showed significant group-wise differences among NC, PD and SWEDD patients and correlated with the MDS-UPDRS score. Conclusions: Pallidum–putamen and sensorimotor cortex–putamen connections might form a structural connectivity profile unique to SWEDD and could be a potential imaging biomarker for future movement disorder research. © 2016, The Author(s)11sciescopu

Nacjonalistyczne podejście do globalnej problematyki ukazane w filmie „Snowpiercer: Arka Przyszłości” w reżyserii Bong Joon-ho

Bong Joon-ho’s film, Snowpiercer (2013) is based on a French graphic novel which deals with the people who got on a train that ran continuously around the world in the coming ice ages. At first, the passengers of the train were restricted to the upper classes, but some lower class people happened to get on the train abruptly. It seems to be inevitable to start to struggle between the two classes. In this regards, the theme of this film is focused on the environmental disaster and social stratification. The ruling classes on this train emphasize the order and control. They justify their domination and oppression over the lower classes, assuming that the cause of the disaster lies in the discrepancy which comes from the uncontrolled populations and productions. They use ‘the Spell of Plato’ to prove their logic. According to their logic, the hierarchy must be divided into two (the ruler and the oppressed) or three (guardians, warriors and workers). Every citizen must be satisfied with his social position. Their logics are further reinforced by the gradual ‘piecemeal social engineering’ proposed by Karl Popper. They also emphasize the justification of strong control supported by the Malthusian ‘principle of population’, where the population grows exponentially, but production increases arithmetically. This theory is repeated itself at the commercial movie like Avengers: Infinity War (2018) and Kingsman: The Golden Circle (2017). These movies became the dominant trends which could be named ‘(Post) Apocalyptic Film’. It seems that Bong Joon-ho is willing to follow the trends and conventions of the genre movie as known as Apocalyptic Film. However, by casting Korean actors as third groups of the movie intentionally, he makes it possible to imagine a new world that is different from this frustrating dichotomy (higher’s domination/lower’s oppression). Namgung Minsu and Yona who are acted by two Korean actors are represented as very active and interesting characters who are anticipated to solve the main social problems in the movie; environmental disasters and class conflicts. They show us the possibilities of the new world which can be imagined after the frozen and totally destroyed world is ended. Korean spectators can feel proud of the fact that the heroic and fantastic character of this movie is restricted to two Korean actors. Bong seemed to aim the target of spectators only to Korean. Anyway, he could make a little bit different movie from the conventions of blockbuster a.k.a. disaster movie or apocalyptic movie.Film Snowpiercer: Arka przyszłości (2013) w reżyserii Bong Joon-ho oparty jest na francuskiej powieści graficznej, ukazującej ludzkość  znajdującą się w krążącym po skutym lodem świecie pociągu. Początkowo pasażerami byli jedynie przedstawiciele klas wyższych, jednak nieoczekiwanie okazało się, że do środka pociągu dostały się także osoby z klas niższych. Kwestią czasu zatem stało się starcie tychże klas. W tym ujęciu film skupia się na katastrofie klimatycznej oraz rozwarstwieniu społecznym. Klasy rządzące w pociągu kładą nacisk na porządek i kontrolę. Uzasadniają swoje rządy oraz ucisk klas niższych tym, że katastrofa miała swoje źródło w rozdźwięku między niekontrolowanym wzrostem liczebności populacji oraz uprzemysłowieniem. Udowadniają swoją logikę odwołując się do 'czaru (zaklęcia) Platona'. Zgodnie z nim, hierarchia musi być podzielona na dwie (rządzący i rządzeni) bądź trzy (strażnicy, wojownicy i robotnicy) części. Każdy obywatel musi zadowolić się swoją pozycją społeczną. Ich logika ulega następnie wzmocnieniu Popperowską 'stopniową cząstkową inżynierią społeczną'. Podkreślają również uzasadnienie silnej kontroli wspieranej maltuzjańską 'statyczną teorią zasobów', w której liczba ludności przyrasta geometrycznie a produkcja żywności arytmetycznie. Teoria ta powtarza się w takich filmach komercyjnych jak Avengers: Wojna bez granic (2018) czy Kingsman: Złoty krąg (2017). Tytuły te stały się dominujące w obszarze filmów nazywanych '(post)apokaliptycznymi'. Wydaje się zatem, że Bong Joon-ho chce podążać za trendami i konwencjami filmu gatunkowego uznawanego za apokaliptyczny. Jednakże celowo obsadzając koreańskich aktorów w grupie trzeciej umożliwia wyobrażenie nowego świata, innego od tego pełnego frustrującej dychotomii (dominacja wyższego/ucisk niższego). Namgung Minsu i Yona, grani przez koreańskich aktorów, są ukazani jako bardzo aktywni i ciekawi bohaterowie, mający rozwiązać główne problemy społeczne w filmie, katastrofy klimatyczne i konflikty klasowe. Ukazują możliwości, jakie przynieść może ze sobą nowa rzeczywistość po tym, jak obecny zamrożony i zniszczony świat upadnie. Koreańscy widzowie mogą zatem czuć się dumni z tego, że bohaterski i fantastyczny wymiar filmu jest podkreślony dzięki grze tych dwojga aktorów. Wydaje się zatem, że reżyser, wykorzystujący z jednej strony uniwersalny schemat filmów katastroficznych i nadający mu nacjonalistyczny charakter, a jednocześnie podejmujący wyzwanie współczesnych tematów katastrofy klimatycznej i konfliktów klasowych, tym właśnie filmem zdołał trafić w gusta Koreańczyków

Nacjonalistyczne podejście do globalnej problematyki ukazane w filmie „Snowpiercer: Arka Przyszłości” w reżyserii Bong Joon-ho

Bong Joon-ho’s film, Snowpiercer (2013) is based on a French graphic novel which deals with the people who got on a train that ran continuously around the world in the coming ice ages. At first, the passengers of the train were restricted to the upper classes, but some lower class people happened to get on the train abruptly. It seems to be inevitable to start to struggle between the two classes. In this regards, the theme of this film is focused on the environmental disaster and social stratification. The ruling classes on this train emphasize the order and control. They justify their domination and oppression over the lower classes, assuming that the cause of the disaster lies in the discrepancy which comes from the uncontrolled populations and productions. They use ‘the Spell of Plato’ to prove their logic. According to their logic, the hierarchy must be divided into two (the ruler and the oppressed) or three (guardians, warriors and workers). Every citizen must be satisfied with his social position. Their logics are further reinforced by the gradual ‘piecemeal social engineering’ proposed by Karl Popper. They also emphasize the justification of strong control supported by the Malthusian ‘principle of population’, where the population grows exponentially, but production increases arithmetically. This theory is repeated itself at the commercial movie like Avengers: Infinity War (2018) and Kingsman: The Golden Circle (2017). These movies became the dominant trends which could be named ‘(Post) Apocalyptic Film’. It seems that Bong Joon-ho is willing to follow the trends and conventions of the genre movie as known as Apocalyptic Film. However, by casting Korean actors as third groups of the movie intentionally, he makes it possible to imagine a new world that is different from this frustrating dichotomy (higher’s domination/lower’s oppression). Namgung Minsu and Yona who are acted by two Korean actors are represented as very active and interesting characters who are anticipated to solve the main social problems in the movie; environmental disasters and class conflicts. They show us the possibilities of the new world which can be imagined after the frozen and totally destroyed world is ended. Korean spectators can feel proud of the fact that the heroic and fantastic character of this movie is restricted to two Korean actors. Bong seemed to aim the target of spectators only to Korean. Anyway, he could make a little bit different movie from the conventions of blockbuster a.k.a. disaster movie or apocalyptic movie.Film Snowpiercer: Arka przyszłości (2013) w reżyserii Bong Joon-ho oparty jest na francuskiej powieści graficznej, ukazującej ludzkość  znajdującą się w krążącym po skutym lodem świecie pociągu. Początkowo pasażerami byli jedynie przedstawiciele klas wyższych, jednak nieoczekiwanie okazało się, że do środka pociągu dostały się także osoby z klas niższych. Kwestią czasu zatem stało się starcie tychże klas. W tym ujęciu film skupia się na katastrofie klimatycznej oraz rozwarstwieniu społecznym. Klasy rządzące w pociągu kładą nacisk na porządek i kontrolę. Uzasadniają swoje rządy oraz ucisk klas niższych tym, że katastrofa miała swoje źródło w rozdźwięku między niekontrolowanym wzrostem liczebności populacji oraz uprzemysłowieniem. Udowadniają swoją logikę odwołując się do 'czaru (zaklęcia) Platona'. Zgodnie z nim, hierarchia musi być podzielona na dwie (rządzący i rządzeni) bądź trzy (strażnicy, wojownicy i robotnicy) części. Każdy obywatel musi zadowolić się swoją pozycją społeczną. Ich logika ulega następnie wzmocnieniu Popperowską 'stopniową cząstkową inżynierią społeczną'. Podkreślają również uzasadnienie silnej kontroli wspieranej maltuzjańską 'statyczną teorią zasobów', w której liczba ludności przyrasta geometrycznie a produkcja żywności arytmetycznie. Teoria ta powtarza się w takich filmach komercyjnych jak Avengers: Wojna bez granic (2018) czy Kingsman: Złoty krąg (2017). Tytuły te stały się dominujące w obszarze filmów nazywanych '(post)apokaliptycznymi'. Wydaje się zatem, że Bong Joon-ho chce podążać za trendami i konwencjami filmu gatunkowego uznawanego za apokaliptyczny. Jednakże celowo obsadzając koreańskich aktorów w grupie trzeciej umożliwia wyobrażenie nowego świata, innego od tego pełnego frustrującej dychotomii (dominacja wyższego/ucisk niższego). Namgung Minsu i Yona, grani przez koreańskich aktorów, są ukazani jako bardzo aktywni i ciekawi bohaterowie, mający rozwiązać główne problemy społeczne w filmie, katastrofy klimatyczne i konflikty klasowe. Ukazują możliwości, jakie przynieść może ze sobą nowa rzeczywistość po tym, jak obecny zamrożony i zniszczony świat upadnie. Koreańscy widzowie mogą zatem czuć się dumni z tego, że bohaterski i fantastyczny wymiar filmu jest podkreślony dzięki grze tych dwojga aktorów. Wydaje się zatem, że reżyser, wykorzystujący z jednej strony uniwersalny schemat filmów katastroficznych i nadający mu nacjonalistyczny charakter, a jednocześnie podejmujący wyzwanie współczesnych tematów katastrofy klimatycznej i konfliktów klasowych, tym właśnie filmem zdołał trafić w gusta Koreańczyków

PRZYKŁADY NARRACJI KOREAŃSKIEJ W OPARCIU O ‘REGUŁĘ TRZECH’

Korea has several conflicting images. The first image was that Korea has been a small and weak country. Korean Peninsula places at the collision point of continents and oceans, so it has been forced to encounter the frequent invasions from other strong neighboring countries. The second image is that Korea is a very interesting and dynamic society which has a long history and excellent cultures. Nowadays Koreans are known to be very smart and excellent in arts and science. Owing to the ardent desire for the children’s education, young Korean students are more educated and talented than those of any other nations. Between the passive belittlement opinion and extremely exaggerated applause, there could be more balanced third opinions suitable for Korean’s position.Korea is trying to confirm its identity through the comparison with other countries; China, Japan, and the United States. China has been the most powerful empire at the center of East Asia. For this reason, Korea chose a voluntary way of submission to China for a long time. Of course, there happened to be a time of resistance as an opponent. Korea sometimes has kept the attitude of  "subservience to the stronger" on China. Japan has been considered as a less civilized country than Korea. But it grew to be the most powerful imperialist’s nation in East Asia and dominated Korea as a kind of substantial colony for 35 years. At the beginning of 20th century, the United States emerged as the super power among the all nations. Their power influenced to lots of nations as a police of the world as if they were the only police who can keep world peace. They were the friendly helper to South Korea for a long time. But it is not strange there were some occasional conflicts between the two nations.In general, Korea has chosen a policy of obedience to these powerful countries. But on the contrary of realistic attitude to them, Korean has continuously kept the attitude of independence and resistance in their deep minds. In the folk tale, it is the universal law that the weakest finally wins the strongest. The pattern of  Korean’s narratives is same to that folk tale.Koreans feels a kind of empathy to these folk tales for they have been too weak themselves. So they made their own tales based on the contrast between strong and weak. Koreans have felt serious agony against inevitable power between continent/ ocean, China/ Japan, China/ United States. These were the Koreans’ destiny in their daily life. But Koreans developed lots of fictitious narrative which shows the imaginative victory of Korean.The pattern of ‘Rule of three’ can be divided into four; simple or cumulative, progressive or ascending, contrasting or double negative, dialectical. In this paper, I am going to introduce some Korean narratives, which show the victory of the weakest. The stories of General Yushin Kim and Great Monk Samyeong could be chosen the representative examples of Korean narratives."Three colored national flag" has been used in the world. For example, French people uses three colored flag for the meaning of liberty, equality and fraternity. I guess, in Poland, the legend of ‘three eagles’ could be used for the relationship of Russia, Germany and Poland or Germany, Czech and Poland. Currently, it can be used for the Korean’s dilemma between the powerful Group Two. Koreans are always asking to themselves: which way we must choose to survive between two powerful brothers, what is the third way we can choose as the youngest brother. These questions are making many narratives on Korean themselves.한국은 몇 가지 상반된 이미지를 가진다. 첫째, 한국은 약소국이라는 인식이다. 한국은 반도라는 지정학적인 위치로 인해 대륙과 해양세력의 충돌지점에 놓여 있으며, 숱한 외국의 침략을 받으면서 수난의 역사를 살아왔다는 인식이다. 둘째, 한국은 매우 문명적이며 역동적이라는 인식이다. 한국은 높은 교육열로 인한 개인적 역량의 수월성, 오랜 역사적 경험의 축적을 통해 다양하고 역동적인 문화를 창조하고 있다는 것이다. 셋째, 한국은 작지만 강한 나라라는 인식이다. 한국의 규모는 작은 편이지만 아주 작은 나라는 아니며 고유의 정체성을 가지고 있다는 것이다.대부분의 나라가 그렇듯, 한국은 다른 나라와의 비교를 통해 자신의 정체성을 확인하고자 한다. 이때 자주 비교의 대상이 되는 국가가 중국, 일본, 미국이었다. 중국은 역사상 가장 강력하고 지속적인 제국으로서 동아시아의 중심이었으며, 한국은 중국에 대해 대부분 자발적인 순종의 길을 택했다. 물론 저항과 예속의 시기도 있었으나, 한국은 중국에 대해 ‘사대’의 태도를 보이면서도 때에 따라서는 ‘자주’와 저항을 선택하기도 했다. 일본은 한국보다 변방에 있는 나라로 치부되었으나, 근대 이후 가장 강력한 제국주의 국가로 성장하고 한국을 실질적인 식민지로 지배하였다. 한국인은 일본에 대해서도 복종, 저항, 비판의 태도를 유지해왔다. 미국은 20세기 이후 세계의 경찰국가로 떠오르면서 한국에 대해 원조자의 위치를 점해왔다.한국은 이들 강대국에 대해 대체적으로는 순종의 노선을 택했으나, 한국인의 정체성은 이들에 대한 반감과 증오, 경쟁의 관계 속에서 마련되었다. 적어도 상상적 차원에서는 ‘가장 약한 자가 가장 강한 자를 이긴다’는 서사를 지속적으로 변주해내었다.가장 약한 셋째가 첫째, 둘째를 이기고 마침내 성공한다는 이야기는 구비문학 전체에서 보편적인 이야기 형식으로 전승된다. 이를 ‘3의 법칙’이라 부를 수 있다. 한국은 늘 대륙/ 해양, 중국/ 일본, 중국/ 미국 등의 틈새에서 시달렸지만, 적어도 상상적 차원에서는 ‘3의 법칙’에 기반한 한국인의 서사를 개발함으로써 그들과의 차별성을 강조하고 자신의 정체성을 제시한 것이다.‘3의 법칙’은 축적형, 상승형,대조형, 변증법형으로 구분할 수 있다. 본고에서는 고구려, 백제를 물리치고 삼국 통일에 공헌한 김유신의 서사, 임진왜란 이후 일본을 굴복시킨 사명대사의 서사, 그리고 현재에도 진행 중인 ‘작지만 강한 나라’로서의 한국인에 대한 서사를 이러한 유형에 따라 분류하고 평가하였다.세계의 국기들에도 ‘삼색기’가 가장 많이 사용된다. 자유-평등-박애, 자유주의-공산주의-민족주의 등은 한 국가가 자신의 정체성을 만들기 위해 가장 자주 사용하는 상징적 조작이라 볼 수 있다. 예를 들어, 폴란드는 러시아-독일이라는 강력한 나라 사이에서 생존해야 했던 폴란드의 역사를 ‘세 마리의 독수리’ 이야기로 만들어 건국신화의 틀로 활용하고 있다. 현재 한국은 세계의 두 정상(group two)’에 해당하는 미국과 중국 사이에서 또 하나의 ‘3의 서사’를 만들고 있는 것으로 볼 수 있다.Istnieje kilka sprzecznych ze sobą wizerunków Korei. Pierwszy z nich ukazuje ją jako małe, słabe państwo, często atakowane przez silniejszych sąsiadów. Drugi z kolei jako bardzo interesujący kraj z dynamicznym społeczeństwem, długą historią i piękną kulturą. Trzeci głosi, iż Korea pomimo bycia małym krajem jest silna i posiada swoją tożsamość.Korea podobnie jak i inne kraje potwierdza swoją tożsamość poprzez porównanie z innymi - Chinami, Japonią czy Stanami Zjednoczonymi. Chiny były najsilniejszym imperium w centrum Azji Wschodniej, dlatego też Korea przez długi okres czasu była jej podległa. Japonia z kolei, choć została uznana za kraj mniej cywilizowany od Korei, będąc najpotężniejszym narodem imperialistycznym Azji Wschodniej zdominowała ją na okres 35 lat. Z kolei Stany Zjednoczone ukazały się na początku XX wieku jako wpływowe supermocarstwo - jedyna siła mogąca utrzymać pokój na świecie. Pomimo, iż Korea wybrała prowadzenie polityki posłuszeństwa wobec wspomnianych mocarstw, Koreańczycy w swojej twórczości przez cały czas zachowywali postawę niezależności i oporu.W folklorze zauważamy uniwersalne prawo, mówiące o tym, iż to najsłabszy zwycięża najsilniejszego. Kontrast pomiędzy silnym a słabym stał się motywem przewodnim wielu podań ludowych, w których koreańscy autorzy pomimo słabości kraju, ukazują wymyślne zwycięstwo Koreańczyków. Niniejszy artykuł ma na celu omówienie opowiadań obrazujących zwycięstwo właśnie tych najsłabszych. Opowieści autorstwa generała Yousin Kim oraz Wielkiego Mnicha Samyeonga stanowią najbardziej reprezentatywne przykłady takich narracji

Using Tractography to Distinguish SWEDD from Parkinson’s Disease Patients Based on Connectivity

Background. It is critical to distinguish between Parkinson’s disease (PD) and scans without evidence of dopaminergic deficit (SWEDD), because the two groups are different and require different therapeutic approaches. Objective. The aim of this study was to distinguish SWEDD patients from PD patients using connectivity information derived from diffusion tensor imaging tractography. Methods. Diffusion magnetic resonance images of SWEDD (n=37) and PD (n=40) were obtained from a research database. Tractography, the process of obtaining neural fiber information, was performed using custom software. Group-wise differences between PD and SWEDD patients were quantified using the number of connected fibers between two regions, and correlation analyses were performed based on clinical scores. A support vector machine classifier (SVM) was applied to distinguish PD and SWEDD based on group-wise differences. Results. Four connections showed significant group-wise differences and correlated with the Unified Parkinson’s Disease Rating Scale sponsored by the Movement Disorder Society. The SVM classifier attained 77.92% accuracy in distinguishing between SWEDD and PD using these identified connections. Conclusions. The connections and regions identified represent candidates for future research investigations

Planning for selective amygdalohippocampectomy involving less neuronal fiber damage based on brain connectivity using tractography

Temporal lobe resection is an important treatment option for epilepsy that involves removal of potentially essential brain regions. Selective amygdalohippocampectomy is a widely performed temporal lobe surgery. We suggest starting the incision for selective amygdalohippocampectomy at the inferior temporal gyrus based on diffusion magnetic resonance imaging (MRI) tractography. Diffusion MRI data from 20 normal participants were obtained from Parkinson′s Progression Markers Initiative (PPMI) database (www.ppmi-info.org). A tractography algorithm was applied to extract neuronal fiber information for the temporal lobe, hippocampus, and amygdala. Fiber information was analyzed in terms of the number of fibers and betweenness centrality. Distances between starting incisions and surgical target regions were also considered to explore the length of the surgical path. Middle temporal and superior temporal gyrus regions have higher connectivity values than the inferior temporal gyrus and thus are not good candidates for starting the incision. The distances between inferior temporal gyrus and surgical target regions were shorter than those between middle temporal gyrus and target regions. Thus, the inferior temporal gyrus is a good candidate for starting the incision. Starting the incision from the inferior temporal gyrus would spare the important (in terms of betweenness centrality values) middle region and shorten the distance to the target regions of the hippocampus and amygdala

Effectiveness of imaging genetics analysis to explain degree of depression in Parkinson's disease

Depression is one of the most common and important neuropsychiatric symptoms in Parkinson's disease and often becomes worse as Parkinson's disease progresses. However, the underlying mechanisms of depression in Parkinson's disease are not clear. The aim of our study was to find genetic features related to depression in Parkinson's disease using an imaging genetics approach and to construct an analytical model for predicting the degree of depression in Parkinson's disease. The neuroimaging and genotyping data were obtained from an openly accessible database. We computed imaging features through connectivity analysis derived from tractography of diffusion tensor imaging. The imaging features were used as intermediate phenotypes to identify genetic variants according to the imaging genetics approach. We then constructed a linear regression model using the genetic features from imaging genetics approach to describe clinical scores indicating the degree of depression. As a comparison, we constructed other models using imaging features and genetic features based on references to demonstrate the effectiveness of our imaging genetics model. The models were trained and tested in a five-fold cross-validation. The imaging genetics approach identified several brain regions and genes known to be involved in depression, with the potential to be used as meaningful biomarkers. Our proposed model using imaging genetic features predicted and explained the degree of depression in Parkinson's disease appropriately (adjusted R2 larger than 0.6 over five training folds) and with a lower error and higher correlation than with other models over five test folds. © 2019 Won et al