• 모자간호학회지
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• 제2권1호
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• pp.45-54
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• 1992

The purpose of this study was to explore the stressors in pediatric intensive care unit and impaired psychological responses of children after open heart surgery. Sixteen children aged 6 to 11, who were admitted to the hospital for open heart surgery during the period from July, 1991 to February, 1992 were the subjects of the study. Observations, drawings, and interviews were used to collect data for study. Behavioral responses about intensive care unit phenomena were analyzed according to the 4 categories identified to assess children's perceived stressors in ICU. Impaired psychological responses were examined using observational and interview data. Drawings were analyzed by content and color by this researcher and validated by the psychologist. The findings were as follows : 1. The most frequently perceived stressors by children in ICU were the physical stressors causing pain and discomfort(68.5%). It was followed by social stressors which denote disruption of relationship with family and friends(13.0% ), environmental stressors which denote unfamiliar surroundings, noise, staff, and other patients (11.2%), and psychological stressors which denote factors affecting self-esteem such as inability to communicate and inadquate knowledge of the situation (7.3%). 2. 81.3% of the children showed of least one of the impaired psychological responses. Three children (18.8%) experienced time disorientation. An equal number of subject experienced perceptual illusion. Two children(12.5%) experienced hallucination. Vivid dream about ICU phenomena was reported by 2 children. Seven children(43.8%) were identified as having exaggerated fear. They feared about oxygen mask and ICU environment in general. Seven children(43.8%) experienced impairment of memory about treatments, procedures, and environment of ICU. 3. The analysis of children's drawing revealed that 56.3% of children experienced fear in the ICU. 75% of children included nurses in the drawings and 62.5% of children drew other children. 81.3% of children drew and identified himself in the drawing. The colors used most by children were green, purple, and brown. From this result, it is recommended to prepare children before open heart surgery to reduce their stressors and impaired psychological responses in ICU.

• 치위생과학회지
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• 제7권2호
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• pp.89-96
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• 2007

The purpose of this study was to examine the relationship between the self-expression level of dental hygiene students related to communicative competence and their stress during clinical practice and what affected their stress. The subjects in this study were 125 dental hygiene students in W college, on whom a survey was conducted from September 18 through 30, 2006. After the collected data were analyzed with SPSS WIN 10.0 program, the following findings were acquired: 1. When a factor analysis was made to evaluate the self-expression of the students, there appeared three different categories of self-expression: voice/content, facial expression/attitude and sentiment. The three made a 58.1% prediction of their self-expression. As for overall reliability, they turned out highly reliable(Cronbach'a = .881). 2. The dental hygiene students got a mean of 3.58 out of possible five points in self-expression, which indicated that they expressed themselves relatively well. Concerning connections between their general characteristics and self-expression level, those who were inactive during clinical practice got a mean of 3.28, whereas the others who were active got a mean of 3.85. It implied that those who took a more active attitude to clinical practice expressed themselves better(p < .01). The person with whom they found it hard to get along made a statistically significant difference to their self-expression(p < .05). The students who didn't fare well with dental hygienists got the best score(3.70). The second best group(3.53) didn't get along with dentists, followed by assistant nurses(3.46) and patients/caregivers(3.31). As for the impact of the field of dream job, the students who hoped to work or study overseas(4.21) excelled in self-expression those who wanted to be hired in a general hospital, to go onto a school of higher grade and to work in a public dental clinic(p < .05). Among the general characteristics, satisfaction level with major, health status and motivation of choosing dental hygiene made no statistically significant differences to their self-expression. 3. Regarding relations between self-expression level and stress about clinical practice, those who didn't express themselves properly in terms of sentiment scored higher in stress level(3.65). Their stress was statistically significantly different according to self-expression level (p < .05). 4. As for the influence of self-expression and general characteristics on stress with clinical practice, sentiment was selected from among the self-expression categories as a decisive factor to affect stress. Their stress varied statistically significantly with that(p < .05). In contrast, their demographic variables made no statistically significant difference to that, which made a 79.2% prediction of it.

• 미술이론과 현장
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• 제13호
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

• 미술이론과 현장
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• 제7호
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 대한간호학회지
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• 제30권2호
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• pp.452-462
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• 2000

There are currently 214 orphanages in Korea which house approximately 13,873 orphans aged between 3 and 18; this accounts for about 0.12% of all children in the same age range. Some have lost their parents, but most have come after their parents divorced or broke up. This means majority of the children in Child Care Centers have parents. Traditional virtue of obedience to parents (Hyo) was regarded as one of the highest value in Korea. Also the interaction between parents and their children was regarded as basic human nature that parents look after, both physically and spiritually, their children until they become one of the matured social member. Raised without having a chance to realize their filial duty and not having been cared for by their parents, most orphans feel that they lack something in their lives when compared with friends. In the end, they live their lives longing for their parents and go through mental discord about their parents. This paper is focused on understanding orphans' experience and views on parents. I approached the issue by applying van Manen's Hermeneutic Phenomenological Approach. The interviews, along with other reference material were phenomenologically reflected to draw essential themes as follows; 1. Orphans of pre-school age hazily long for parents without having any practical image of their parents. 2. They occasionally dream meeting their parents with image that can only last in their dreams, and this continues up through middle school. 3. At the age of elementary school, they crave the image of parents as they see their friends with their parents. 4. They start to despise their parents for having abandoned them when they reach puberty. 5. Meanwhile, as their vague image of parents fade away, they attempt to give up their thoughts toward their parents. 6. Highteens start to think in terms of fate. 7. They don't long for their parents anymore as they used to, but still wishes to meet them at least once. However, they don't want to start any kind of a relationship with them. 8. They fear that they will also fail in raising families of their own, and making their children orphans too, just like their parents have. They simply don't want to follow their footsteps. 9. Thinking that they were abandoned by their parents, they are reluctant to believe other people.

• 디지털융복합연구
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• 제14권3호
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• pp.319-327
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• 2016

본 연구는 2011년 1월1일부터 2014년 12월 31일까지의 기상변이에 관한 빅 데이터와 보건의료의 빅 데이터를 융합하여 식중독 발병률 변이에 기상요인이 어떤 영향을 주는지에 대한 분석을 시도하여 국민건강예방에 도움을 주고자한다. 분석도구 R을 이용하여 로지스틱 회귀와 Lasso 로지스틱 회귀 총 2가지 분석을 하였고, 식중독을 발생시키는 주 원인균을 분류하여 세균성 원인균과 바이러스성 원인균에 의한 식중독 발병률 변이를 확인하였다. 로지스틱 회귀 분석결과, 세균성 원인균에 의한 식중독 발병률에는 평균기온, 일조량편차, 기온편차가 유의미한 영향을 미치고, 바이러스성 원인균에 의한 식중독 발병률에 영향을 미치는 기상요인은 최소증기압, 일조량편차, 기온편차로 나타났다. 본 연구는 기상요인과 식중독 발병률이 상관성이 있음을 확인하였고, 두 가지 원인균에 의한 식중독 발병률이 같은 기상요인에 영향을 받더라도 원인균들의 특성에 따라 식중독 발병률에 반대의 영향을 미치는 것을 확인하였다.

• 한국보육지원학회지
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• 제9권5호
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• pp.157-179
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• 2013

본 연구는 저소득층 가정 부모의 심리적 행동적 특성을 살펴보고, 이러한 부모의 특성이 자녀의 문제행동에 미치는 영향을 양부모 가정과 한부모 가정을 비교하여 살펴보고자 하였다. 연구의 목적을 달성하기 위해 저소득 가정을 위한 드림스타트 프로그램에 참여한 부모 193명을 대상으로 조사를 실시, 자녀의 문제행동을 측정하였다. 그에 따른 연구결과는 다음과 같다. 먼저 심리적 행동적 특성에 있어서는 양부모 가정 부모가 한부모 가정 부모보다 현재 양육 만족도와 양육의 즐거움, 식생활습관, 그리고 긍정양육행동이 높았고, 한부모 가정 부모는 양부모 가정 부모보다 양육스트레스가 높았다. 그러나 자녀의 문제행동에 있어서는 한부모 가정 자녀가 양부모 가정 자녀보다 높았으나 통계적으로 유의미한 차이가 없었다. 다음으로, 저소득층 양부모 자녀는 부모가 양육스트레스가 높을수록 문제행동이 높으며, 자녀관계 만족도가 높을수록 문제행동이 낮았다. 반면에 저소득층 가정 한부모 자녀는 부모가 식생활 습관과 일상생활 만족도가 높을수록 문제행동이 낮으며, 양육스트레스가 높을수록 문제행동이 높았다. 이러한 결과를 볼 때, 저소득층 자녀의 문제행동 감소와 부모의 양육행동의 강화를 위해서는 부모양육 및 교육 등의 프로그램의 개발과 함께, 부모형태에 따른 다각적인 지원이 이루어져야 할 것이다.

• 한국지반공학회:학술대회논문집
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• 한국지반공학회 2009년도 세계 도시지반공학 심포지엄
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• pp.775-784
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• 2009

풍화된 엽리는 연장성이 크고 거칠기가 적어서 치명적인 활동면으로 작용할 수 있다. $\bigcirc\bigcirc$ 도로공사 현장에 발생된 대절토 사면의 붕괴는 엽리와 평행한 단층면의 활동에 의한 것으로 후기 풍화에 의해 단층면에 녹니석 점토 성분이 충진 되면서 절취에 의해 변경된 지반환경을 수용치 못하고 갑작스런 붕괴가 발생된 사례이다. 붕괴사면의 안정화 방안을 수립하기 위해서는 내부 엽리구조의 3차원 분포를 정확히 파악하는 것이 매우 중요하였다. 이를 위하여 사면에 격자 형태로 10개의 시추를 수행하였으며, 각 시추공에서 시추공영상촬영을 수행하였고, 그 결과를 15개의 단면에 투영하여 사면 내부에 분포하는 엽리, 절리, 단층의 3차원 배열을 분석하였다. 분석 방법으로는 측정된 시추공의 면구조를 절취면에 투영하기 위하여 개발된 Fracjection을 사용하였다. 투영분석 결과 평면에 투영된 엽리의 구조들은 엽리의 주향이 사면의 좌측으로 가면서 사면 내부로 깊어짐을 보여주고 있어서 사면의 우측에서 붕괴된 지질구조는 현 붕괴면 위치와 사면의 좌측 부분에 또 하나의 쐐기파괴 위험성이 존재함이 조사되었다. 전기한 지질 구조의 3차원 조사자료를 기초로 예상 활동면이 설정되었으며, 그 활동면을 기초로 한계평형 분석을 수행하여 현 사면의 경사 완화와 앵커 및 억지말뚝과 피암터널의 설계방안 등이 검토 되었다.

• 한국조경학회지
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• 제26권4호
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• pp.82-94
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• 1999

According to Korean's geographical features of Taek Li Ji, the best location for human settlements is on the vicinity of a stream among a stream, an river and a sea, and not far from a ridge. The researcher chose one of best village which is called Yougokmaeul in Bonghwa-Gun, Kyungsang-Do. This village was created a gathering village with the same surname, can be translated as a hen and the front mountain can be seen as a rooster in the view of the shape of geographical features. As it were, the shape of this village and the cultivated land seems to be an egg inside a nest of a parent's chicken in the respect of the analogy of the theory of P'ungsuchiri which is known as Feng Shui in China and geomancy in the western world, and to effect the defensive psychology of the living environment in the terrain inland. This village is the studying place, Suckchunjungsa as the lecturing and studying place for their following students within the Chunghadonchun, the studying Yougok village, and even the ritual place performing ancestral sacrifices and the first incoming ancestor's graves in the same geographical system. The house site of the first incoming resident is surrounded the countian and is located in the front of Backsulryount which is the main mountain through Moonsu-san in the branch mountain of Korean's mountain system. Backsulryoung which is to be seen as the white peak, is symbolized the head of a hen which is to relate to a mysterious turtle in the view of P'ungsuchiri. And the pavilion which is called Chungamjung is sited on the rock of a shape of turtle which is symbolized to live longer. In the section of the mountain and water, Lee Jung Hwan mentioned a living place near the mountain stream is the best residential area and a landscape which is composed by a stream between mountains make a pleasure spirit and a bright feeling and make a refined person. If one can reach in the graceful mountain make a pleasure split and a bright feeling and make a refined person. If one can reach in the graceful mountain half day away, this kind of place must be a best living residential area to live. But this village was structured all in one place. And one of the ideas tangibly reflected in traditional Korean society's view of life and nature is the seclusion based on the Taoism. This kind of a dreamy thoughts make a dream to keep the paradise in our ancestors' mind. This kind of utopia is Chunghadonchun which is structured 5 aspects from the utopian gate near the Samgaesuewon to the village. These 5aspects is expressed by some Confucian thoughts as a small cosmos individually. On the third aspects which is the center among these aspects, the Suckchunjungsa which was made a seclusion place to devoting himself to his studies with refined tastes. The word of Jiju-am, Gangpung-dae, Jaewol-dae and Biryoung-pock are all expressed to cultivate one's moral character and to seek the truth by the Confucius'theory through the nature.