• Journal of Hospice and Palliative Care
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• 제20권2호
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• pp.100-110
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• 2017

목적: 본 연구는 우리나라 사람들이 인지하고 있는 존엄한 죽음의 의미를 참여자의 관점에서 있는 그대로 탐구하여 확인하고 기술함으로써 그 구조와 본질을 규명하기 위한 것이다. 방법: 현상학적 분석방법을 적용한 질적 연구로 본 연구의 참여자들은 연령대와 성별을 고려한 일반인으로 총 13명이었다. 자료수집은 참여자와 개별적 심층면담을 통해 이루어졌으며, 자료분석은 Colaizzi(1978)의 현상학적 분석방법을 이용하였다. 결과: 우리나라 사람들이 인지하는 존엄한 죽음은 4개의 범주와 9개의 주제모음 및 18개의 주제로 구조화할 수 있었다. 4개의 범주는 '편안한 죽음', '보기 좋은 죽음', '해결하고 죽는 죽음', '남긴 죽음'이었고, 9개의 주제모음은 '고통 없는 죽음', '자연에 순응하는 죽음', '흉하지 않은 죽음', '좋은 회상을 남기는 죽음', '원하는 방식으로 죽는 죽음', '주변을 정리한 죽음', '응어리를 풀고 가는 죽음', '잘 살고 죽는 죽음', '인정받는 죽음'이었다. 결론: 우리나라 사람들이 의미하는 존엄한 죽음은 고통 없이 편안하게 죽으면서 다른 사람에게 피해를 주지 않고 남아 있는 삶 동안 모든 일을 해결하고 가족을 포함한 다른 사람과의 관계 속에서 좋은 이미지로 남아야 하는 것으로 나타나 우리나라 사람들의 존엄한 죽음을 위하여 임종을 앞둔 대상자의 호스피스 간호에 적용할 수 있을 것이다.

• 의료법학
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• 제25권1호
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• pp.193-222
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• 2024

세계적 추세에서 볼 때, 환자의 존엄사에 대한 논의는 연명의료중단의 문제에서 점차 조력사망의 허용 여부와 그 요건에 대한 문제로 진행되고 있다. 미국의 여러 주와 캐나다, 벨기에, 네덜란드 등 서구유럽 국가에서는 의사의 조력을 통하여 사망시기를 앞당기는 치료를 제도화하였다. 프랑스에서는 오랜 시간 동안의 문제 제기와 검토 끝에, 다른 유럽 국가에 비해서는 완만한 속도로 관련 법제에 대한 논의가 이루어지고 있다. 프랑스에서는 20세기 후반부터 존엄사에 대한 사회적 논의와 입법적 시도가 활발히 이루어져 왔다. 2005년의 레오네티 법에 의해 환자의 의사에 반하는 무의미한 치료의 지속이 금지되었고 2016년 클레이-레오네티 법 이후 환자에게 강도 높고 지속적인 진정제를 사망시까지 투여하는 것을 합법화하였다. 그러나 이웃하는 다수의 유럽국가와 달리 프랑스에서는 사망 시기 자체를 앞당기는 처치는 환자가 원한다고 하여도 여전히 금지되고 있다. 임종기의 환자가 의사의 조력을 받아 고통 없이 사망에 이르는 것을 허용할 것인가에 대한 실존적이고 보편적인 질문이 최근 중요한 문제로 부각되면서 다수의 국회의원들이 조력사망을 합법화하는 내용의 법률안을 제출하였다. 이 논문에서는 프랑스에서 존엄한 죽음에 대한 환자의 권리(droit de mourir dans la dignité)와 관련하여 전개된 입법과정을 살펴보고 최근 조력사망의 합법화를 시도하는 프랑스의 법률안들을 우리 연명의료결정법 개정안과 비교·검토하고자 한다.

• 농촌지도와개발
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• 제2권1호
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• pp.61-70
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• 1995

The decentralization of local extension authority is due to several aspect of improper law on extension. First, extension authority has not treated the extension law properly though it has many local office in province, counties, villages. Second, the authority concentrated too much on the service ignoring the local offices are under the improper law. Third, the authority lost their dignity when other institutions argue for their work on the extension services, Extension Institution should change, but the change should come with proper law environment.

• Journal of Hospice and Palliative Care
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• 제23권4호
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• pp.167-171
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• 2020

The finite nature of human existence leads many to search for meaning, which comes into sharper relief for those who are imminently facing death. Therefore, universal existential concerns such as the inevitability of death, existential isolation, loss of meaning, freedom, and dignity are inherent psychological issues in palliative care. Consequently, one of the critical challenges facing palliative care is how to address these issues effectively. This paper provides an overview of common themes of existential concerns and psychotherapeutic interventions to address existential distress among patients in palliative care.

• 복식
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• 제58권3호
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 복식
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• 제39권
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• pp.181-196
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• 1998

This study is about the similarities and the individualties of the traditional costumes in the ruling classes of Koguryo(高句麗), Bakjae(百濟), and Shilla(新羅). The analysis is based on the views of historical reformation on$\boxDr$Sam-gooksagi(三國史記)$\boxUl$Bongi(本紀). The costumes that were worn by the governing classes are categorized by the following, official duties, wars, ceremonies, and recreations(hunting). Up to the present time, there has been a great tendency to emphasize the similarities of the Three Kingdoms' costumes among most of academic researchers. However, the conceptions of individualities of the costumes among the Three Kingdoms were conceived by the facts that geological environments, political systems, social traditions, social aspects, and foreign affairs. The Three Kingdoms had different official rank systems along with official costume systems. Monopolization of official positions of the ruling parties tried to show their dignity and authority through styles of their costumes. The costumes of Koguryo were greatly differentiated by geographical regions ; One direct example is cheak of Pyoungyang and Anak regiona was named as official hats of rulling parties of Kokuryo. However, in this study, the cheak was viewed as a product of influences of Chinese costume. Further-more, the laguan was named as mooguan. Costumes of ceremonial occasions were heavily decorated to symbolize dignity and auth-ority. Metal ornament of headgear and belt, metal shoes were con-sidered as ceremonial costumes. the tight hunting costumes of Koguryo shown in mural pain-ting costumes of Koguryo shown in mural pain-tings were presumed to be spring and autumn clothing. Excavated from Neungasnlee, the hunting costumes inscribed in the gold incense burnner were confirmed as hunting costumes of Bakjae. The individuality of the costumes of the Three Kingdoms could also be supported by the fact that they had different climates. The temperature difference between Gipan region and Kyoungjoo(慶州) region was emphasized. Especially winter clothing would have had a big difference in style than the summer clothing. Through the research summarized above, this study was able to confirm that each of the Three Kingdoms had developed individualized costumes based on their geographical, cultural and environmental factors. Furthermore, through this study, it was possible to find out the difference as well as the similarities of their costumes according to each of their people's sociopolitical status, awareness of indepen-dence, andunique historical and traditional charactoristics.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식
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• 제50권
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• pp.119-128
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• 2000

this study was designed to discuss the pattern of Confucian funeral ceremony and its costumes in Chosun dynasty thereby exploring the ideas and symbolic meanings expressed on them. 1. Male's official mourning dresses were composed of Choieui symbolizing sadness Choisang(최상), Dukun Sangkwan Sujil Yojil Kyodai and mourning stick Female's official mourning dresses consisted of Daersoojangkon and Kaedoo which were of simple kinds as compared to those of males. Duration of wearing mourning dreses was the longest to the death of father husband and eldest son The forms of mouring dresses were one and the same irrespective of the noble and the mean which expressed the sameness of the sorrow full of losting blood relative. Symbol expressed on funeral ceremony costumes were something like "eldestson-oriented" "male-centered" "distinction of the sexes" and "principle of yin and yang" to reinforce vitality to the costumes. 2. In the other funeral ceremony costumes in a royal fami8ly were those Euijangsu in red and blue colors Yeosakon in purple and white colors. Bandsman in Danryung and Guards in Kukonbok Changeui and Hoeui with five colors while the generally of people woere white dress in the ceremony Hoeui with five colors symbolized the principle of Yin and Yang costumes of military uniforms the dignity of the royal family: white dresses grife symbolizing the dignity of a royal family and Confucian sorrow as well 3. Unlike the mouring dresses there were great differences relative to socio-ecpmpomic status in funeral goods for dercoration Soyeo and daeyeo Among the goods the instrument to drive out evil spirites symbolized shamanism the distinction of Soyeo and Daeyeo separation of body and soul; the sculpture of the Lord of Hades and messenger philosophy of buddhistic netherworld: the engraving of blue and yellow dragons in bier and Juksanma the principles of Yin and Yang : elaborate burial accesaries realistic viewpoint of the hereafter.

• 복식문화연구
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• 제9권3호
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• pp.458-484
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• 2001

The costume originated from the idea that it could protect human beings from ferocious beasts. The military costume was from protection against an enemy equipped with weapons. Furthermore, the makers of the costume were afraid of supernatural powers and it made them devise an armour and decorate it by the concept of superstition for the purpose of overcoming it. The function of military uniform was important for increasing the protection against any enemies while they join in battle. However in harmonious time, it represented artwork of peace, dignity, and order. Since the uniform was a king of symbol to show their position, and their role. They could feel proud as a member of a military group they belong to and they gain honor, courage, patriotic sentiment through their military costume. The purpose of this study was to investigate the originality the military costume as it changed and developed continuously from ancient Egypt, Greece and Rome to modern times. This study was performed to show the comparison and characteristic marks of the past, and the influence of them on the modern military uniform. The method used in this study was using past manuscripts of the early times, information attained from domestic and foreign military documents and previously written reports. As a result, the military costume was one of many means of expression of their natural and social environment. It can be said that the most epoche-marking and powerful changes to the social environment are revolution or war. War absolutely has influenced on the changes of the changes of costume and the military armour according to the type of war and the development of weapons. Especially using the amour, the main purpose that of protecting the body has changed into distinguishing our forces from the enemy and instilling fear into enemy, Furthermore, the class who has the power has used it in order to express their power and dignity. Therefore, armour had required two rules to not only protect the body but also discriminating between classes.

• 한국사회복지학
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• 제59권3호
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• pp.33-58
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• 2007

사형은 단순히 하나의 경과적 형벌로 끝나는 것이 아니라 한 사람의 존재를 영원히 지워버리는 것으로서 실존주의적 휴머니즘에 반할뿐 아니라 사회통합이라는 사회복지 목표에 정면으로 배치되는 제도이다. 이에 본 연구는 교정복지의 가치와 철학을 중심논거로 사형에 대한 다각도의 비판적 고찰을 함으로써 그 문제성을 지적하고 나아가 사형제도 폐지의 당위성을 이끌어 내고자 하였다. 요컨대, 사형은 생명권이라는 불가침적인 기본권과 시공을 초월한 인간의 생존본성을 부정할 때만 가능한 것이다. '인간행동의 근거'를 문화와 사회라는 사회체계 속에서 찾으려는 거시적 관점을 부인할 수 없는 한, 사형제도는 사회연대와 인간존엄성과 같은 가치를 바탕으로 사회구성원들이 자기실현을 할 수 있도록 사회 전체가 책임을 진다는 복지철학에 반하며, 범죄인에 대한 교정과 재활 등 적극적으로 특별예방을 지향하는 교정복지의 목표와도 상치되는 것으로서 마땅히 폐지되어야 한다.