• Journal of Korean Academy of Nursing
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• v.25 no.4
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• pp.653-667
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• 1995

Post - operative wound infections have been a serious problem in nursing care in the operating room and appear to be strongly related to the infection occurring during the performance of operation. The purpose of this study is to identify patterns in duration of surgical hand scrub (SHS), to evaluate the method of SHS and to examine the rate of glove perforation. Subjects for this study include 244 doctors and 169 nurses working in the operative theatre of a hospital in Seoul area. Test samples and related data were collected from this medical facility between April 1, through 15, and July 1, through 5, 1995 by the author and a staff member working in the operating room. For the study, data on the SHS of doctors and nurses were obtained at the time of operation and multiple batches of surgical gloves worn by the operating doctors were collected after each operation. The duration of SHS was measured with a stop watch and the method of SHS was evaluated according to Scoring Hand Scrub Criteria (SHS Criteria) and expressed as SHS scores. For the analysis of the data, t-test was used to compare the differences in the duration and the SHS scores of doctors and nurses, and Pearson's correlation coefficient was used to examine the relationship between the SHS duration and the SHS scores. The results of the study are summarized as follows. 1) The mean time spent in each SHS was 167 seconds in nurses, and 127 seconds in doctors. The data comparing nurses and doctors indicated that there were significant differences in Our ation of SH S between these two groups (t=5.58, p=.000). 2) The mean time spent in the first SHS was 145 seconds and that in the End SHS, 135 seconds, and there was not a significant difference in the duration of the SHS between doctors and nurses (t=1.44, P=.156). 3) The mean time spent in the SHS by OS (Orthopaedic surgery) doctors was 162 seconds, 150 seconds by NS(Neurologic surgery), 121 seconds by GS(General surgery), 94 seconds by OPH(Opthalmology) and DS(Dental surgery), 82 seconds by URO(Urology), 78 seconds by PS(Plastic surgery) and 40 seconds by ENT(Ear, Nose & Throat) These also showed a significant difference in the duration of the SHS among the medical specialities (t=4.8, P=.0001). 4) The average SHS score of the nurses was 15.2, while that of doctors was 13.1. The statistical analysis showed that t-value was 3.66, p was. 000. This indicates that the nurses actually clean their hands more thoroughly than the doctors do. 5) The average SHS score of NS doctors was 15.5, 15.3 for doctors for OPH,14.3 for OS,12.7 for GS, 12.0 for DS, 11.7 for URO, 10.1 for PS, 7.5 for ENT. Comparison of the average SHS scores from 8 specialties showed that there was a significant differences in the patterns of the SHS (F=5.08, P=.000) among medical specialties. 6) It appears that the operating personnel scrub the palms and dorsum of their hand relatively well, however, less thorough the nails and fingers. 7) The more the operating personnel spend their time in hand scrubbing, the more correctly they clean their hands(r=.6427, P<.001). 8) The overall frequencies of perforation in all post-operative gloves tested was 38 out of 389 gloves (10.3%). The perforation rate for PS was 13%, 12.1% for GS,8.8% for 05, and 3.3% for NS.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.