• 대한간호학회지
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• 제30권1호
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• pp.122-136
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• 2000

Chronic illness requiring attention and management during a long period of time puts great burden onto patients, their family and society. For patients with chronic illnesses, providing social support is the most important, and the fundamental support comes from their spouses. Amount and quality of support from spouses seems to differentiated according to the sex of patients. Female patients tend to believe that their spouses are not very supportive. Therefore, the researchers assessed the burden of husbands of female arthritis patients to discover the factors that result in greater burden. Also, they developed a theoretical model of husbands′ care for their wives through a qualitative research into husbands′ experience. Method 1: The study material was 650 female arthritis patients registered in an arthritis clinic. The questionnaire about the disease experience of female arthritis patients and the burden of husbands were sent. Returned questionnaires numbered 210(32.3%) and 27 were excluded because of inadequate answers. The remaining 183 questionnaires were analyzed. The mean age of the patients was 51 years and the mean age of spouses was 55 years. The mean marital period was 28 years. The average duration since diagnosis was 9.1 years. Education level was varied from primary school to graduate school, and average income/month was 1,517,300 won. Method 2: Initial questionnaire studies on the burden of husbands were performed. Among 183 responding husbands, 23 consented to participate for a qualitative research. Data was obtained by direct and telephone interviews. The mean age of participants was 58 years, and the educational level and socioeconomic status also varied. Result: 1. Husbands′ burden: The average burden was 57.68 with a range of 6-96. 2. Burden and general characteristics: The husband′s burden correlated with the age of the patients, numbers in the family, therapy methods, patient′s level of discomfort, patient′s disease severity, patient′s level of dependence and the husband′s understanding of the level of severity. 3. Linear correlation analysis on burden: The husbands′ burden is explained in 22.5% by husband′s recognition of level of severity and husbands′ age. 4. There were four patterns of the burden on husbands: both objectve burden and subjective burden were high(pattern I), both of objectve burden and subjective burden were low(pattern II), objective burden was high but subjective burden was low(pattern III), objective burden was low but subjective burden was high(pattern IV). The pattern was correlated with the family income, educational level of the patients and their husbands, therapy methods, patient′s level of discomfort, patient′s disease severity, patient′s level of dependence and husband′s understanding of level of severity. 5. The core category of the caring experience of the husbands with arthritis patients was "companionship". The causal factor was the patients′ experience due to symptoms : physical disfigurement, pain, immobility, limitation of house chores, and limitation of social activities. Contextural factors are husbands′ identification of housework and husbands′ concern about the disease. The mediating factors are economic problems, fear of aging, feeling of limitation and family support. The strategy for interaction is mind control and how to solve emotional stress. The "companionship" resulted from caring activities, participation of household activities, helping patients′ to coping with emotional experience. 6. Companionship is established through the process of entering intervention, and caring state of mind. Entering intervention is the phase of participation of therapy and involvement of houseworks. The caring phase consists of decision on therapy, providing therapy, providing direct care, and taking over the household role of wife. Through caring phase, the changing phase set a stage in which husbands consolidate the relationship with their wives, and are reminded of the meaning of marriage. As a result, in changing phase, husbands′ companionship is enhanced. In conclusion, nursing care of chronic illnesses should include a family member especially the spouse. All information on disease shoud be provided to patients and whole family member. Strong support should also be provided to overcome difficulties in taking over role of other sex. Then the quality of life of patients and families will be much improved.

• 벤처창업연구
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• 제8권3호
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• pp.125-146
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• 2013

최근 모바일 게임이 국내 코스닥 게임 기업들의 기업가치 순위를 좌우하기 시작하면서, 그동안 온라인게임 투자에 주력해왔던 벤처캐피털 등 투자 회사들이 모바일게임 및 모바일게임 기업 투자에 큰 관심을 보이고 있다. 아울러 2012년부터 본격화되기 시작한 엔젤투자자들과 엑셀러레이터들 중에서도 모바일게임 기업 투자가 증가하고 있다. 이러한 모바일 게임투자자들에게 가장 중요한 이슈는 모바일게임 기업 혹은 게임콘텐츠를 어떠한 방법으로 평가할 것인가 하는 것이다. 따라서 본 연구는 모바일게임 기업의 평가에 대한 평가기준과 평가항목을 도출하였다. 연구방법은 게임 수요자 및 공급자의 의견을 수렴하기 위하여 게임업계의 공급을 담당하는 개발사 및 경영자 그룹, 수요를 대변하는 게임전문가 및 투자사 그룹을 포함하는 전문가 20인을 선정하여 델파이 기법(Delphi Technique)에 따라 설문조사를 실시함으로써 모바일게임 기업을 평가할 수 있는 경영능력, 개발력, 게임성, 사업성, 운영능력 등의 5개 평가기준과 경영자의 신뢰도 등 20개의 세부 평가요소를 도출하였다. 또한 델파이 설문을 통하여 도출된 정성적인 요소의 중요도를 분석하기 위하여 AHP(Analytic Hierarchy Process) 이론에 근거하여 모바일게임 기업의 평가를 위한 평가요소의 계층분석도를 작성하였으며, 각 요소에 대한 쌍대비교(Pair-wise Comparison)를 통하여 그 중요도를 분석한 결과, 게임의 핵심적 재미(12.2%), 게임의 몰입도(10.3%), 보안 신뢰성(8.9%), 핵심개발자의 개발능력(7.6%) 등의 순으로 나타났다. 본 연구의 의의는 모바일게임 기업의 M&A나 혹은 프로젝트 투자를 진행함에 있어 모바일게임 기업을 평가하는 현실적 평가요소가 무엇이고 어떤 중요도에 의하여 평가할 것인가에 대한 보다 객관적인 방법론을 제시했다는 점이다.

• 미술이론과 현장
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• 제5호
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 마케팅과학연구
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• 제18권4호
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• pp.245-276
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• 2008

본 연구는 상표자산의 구성요소에 대한 선행요인을 분석하고 이를 토대로 하여 상표자산 구성요소와 상표자산 영향요인간의 관계 그리고 상표자산 구성요소와 구매의도간의 관계를 규명하고 한국과 영국을 중심으로 비교하여 상표자산관리 방안을 도출해보고자 하였다. 연구결과, 정보탐색은 제품지식에 정(+)의 영향을 미치며, 상표태도와 상표지식은 상표 충성도와 상표 가치에 정(+)의 영향을 미치는 것으로 나타났다. 그리고 상표충성도와 상표가치는 구매의도에 정(+)의 영향을 미치는 것으로 나타났다. 정보원천의 경우, 한국에서는 제품지식에 정(+)의 영향을 미치고 있는 반면, 영국에서는 영향을 미치지 않는 것으로 나타났다.