유리체절제술 후 시행한 백내장 수술에서 유리체절제술이 인공수정체 도수 결정에 미치는 영향

김의연,안재홍,유호민,양홍석,Eui Yon Kim,M,D,Jae Hong Ahn,M,D,Ho Min Lew,M,D,Hong Seok Yang,M,D 대한안과학회 2008 대한안과학회지 Vol.49 No.11

Purpose: To evaluate the effect of vitrectomy in IOL power calculation for cataract surgery in the eyes that previously performed vitrectomy. Methods: This study comprised 41 eyes of 37consecutive patients who underwent cataract surgery after previous vitrectomy. IOL power calculation with the measurement of axial length and corneal power was conducted before vitrectomy and before cataract surgery. Target refractions at each surgery, assuming that the same power of IOL was implanted, were compared to actual manifest refraction after cataract surgery. Results: There was no statistically significant change in both axial length and corneal power after vitrectomy (p>0.05). Before vitrectomy, target refraction was -0.22±0.61D compared to -0.37±0.52D before cataract surgery. The actual refraction after cataract surgery was -0.47±0.94D, and there were no significant differences among the three refractions (p>0.05). Conclusions: In the eyes that underwent vitrectomy, vitrectomy itself does not have an influence on calculating IOL power for cataract surgery. J Korean Ophthalmol Soc 2008;49(11):1759-1764

신학철과 윤석남의 작품 속에 재현된 어머니상: 민중미술 시기(1980-1994)를 중심으로

김의연 미술사학연구회 2013 美術史學報 Vol.- No.40

본고는 1980년부터 1994년까지 민중미술 시기에 그려진 신학철과 윤석남의 어머니 상에 대한 연구이다. 그들이 활동했던 시기에 어머니 혹은 모성을 강조하는 경향은 미술뿐 아니라 민중가요나 화보 등 민주화 운동을 위한 저항 예술에서 빈번하게 나타났던 것이었다. 신학철은 제 1회 민족미술상을 수상한 대표적인 민중미술 작가로 작품 속의 거대한 남근 형상에서 보이듯이 남성중심적인 시각을 작품화한 작가이다. 한편 윤석남은 민중미술의 민족미술연합의 여성분과에서 활동했으나 점차 여성의 시각에서 본 여성상을 작품화한 작가이다. 신학철을 비롯한 당대의 민중미술가들과 윤석남의 작품에는 특정한 어머니상이 반복적으로 나타난다. 이들은 아이를 양육하는 어머니상이라는 공통점을 갖는다. 선행연구에 따르면 신학철의 어머니는 민족의 힘과 생명력과 연결되고, 윤석남의 어머니는 가부장제 속에서 고통 받는 여성의 삶과 관련된다. 필자는 기존 연구의 큰 줄기에서 더 나아가 두 작가의 작품에 대해 심층적으로 분석함으로써 민중미술의 테두리 속에서 신학철의 어머니상이 갖는 의미를 밝히고, 그것과 구분되는 윤석남의 어머니 상의 의미에 대해 고찰해 보았다. 신학철의 어머니상은 남성으로 호명되는 민족의 아들일 뿐 아니라 민주화 운동 가운데 산화한 젊은 청년들과 민주화 운동의 남성 지도자의 어머니였다. 그러한 어머니 상들은 그 어머니상은 민족의 아들을 돕는 민족의 힘의 근원으로 상정되며, 민주화운동 내에서 사망한 아들들의 죽음을 애도하는 어머니상은 아들을 순교자화하는 데 기여하고, 그의 동료들이 운동에 매진하도록 독려하는 데 기여한다. 반면, 윤석남은 아들만의 어머니가 아니라 딸의 어머니이며, 어머니가 된 딸이 바라본 어머니를 재현했다. 필자는 윤석남의 알려지지 않은 중요한 작품들을 통해 시기에 따라 조금씩 변화되는 어머니상의 모습을 발견했다. 윤석남은 민족이란 거대 담론에 묻힌 여성 주체와 여성의 목소리를 되살려내었다. 그는 여성의 시각에서 모성신화의 허상을 이야기하고, 여성이자 어머니로서 겪는 슬픔과 그것을 극복하는 힘을 표현했다. 두 작가의 어머니상의 힘은 모두 아픔을 바탕으로 한다. 한쪽은 아들을 지키면서 겪는 고난 혹은 저항 운동 속에서 아들을 잃은 슬픔을 형상화했다면 또 다른 한쪽은 사회 체제 속에서 억압받는 어머니이자 여성으로서의 슬픔을 나타낸다. 두 작가는 어머니상을 통해 그러한 억압과 슬픔을 극복할 힘을 표현했는데, 신학철은 남성중심적인 시각에서 여성을 타자로 보는 시각을 반영했고, 윤석남은 그에서 벗어나 여성이 주체가 되는 여성상을 시각화했다. 어머니상에 대한 시각 이미지의 재현은 이처럼 그것이 지배 이데올로기를 위한 것이건 저항 이데올로기를 위한 것이건 간에, 그리고 민족주의을 나타내는 것이건 혹은 여성주의를 고양하기 위한 것이건 간에, 시대사회의 이데올로기 변화에 부응하거나 위반하며 되풀이되어 왔다. 그리고 시각예술은 이미지의 힘으로 그것이 지지하는 이데올로기를 끊임없이 재생산해 왔다. 지금은 민중미술이 쇠퇴한 지 20여 년이 흘러 여성의 권익이 증대되었다고 말해지는 시기이다. 여성 대통령이 집권하는 이 시기의 모성 이데올로기의 재현에 대한 후속연구가 기대된다. In this paper, I studied the mother image reflected in the paintings and sculptures of Hak Cheol Shin and Seok Nahm Yoon, which were made during the Minjoong Misool Period from 1980 to 1994. In those days, mother or motherhood was frequently emphasized not only in the fine arts but also in the art of the resistance movement, such as Minjoong songs and signage, which are closely related to the democratic movement. Hak Cheol Shin is a representative artist of Minjoong Misool, who received the first Minjok Misool Award. He frequently reflected the dominance of male power in his work, as, for example in the huge penis shape in his pictures, which has been considered as the symbol of the man-centered viewpoint. Seok Nahm Yoon initially produced paintings from the feminine viewpoint, especially reflecting the flight of the poor. This is focus formed from her commitment to the division of women in the Minjok Missol Association of Minjoong Misool, but later, she depicted female images in her paintings from the feminist viewpoint. Minjoong artists like Shin and feminism artists like Yoon repeatedly presented the mother image in their paintings. Although the mother images in those paintings commonly depict mothers who raise the children, Shin's mother image is closely related to Minjok's power while that of Yoon is directly related to women's hardship within a man-oriented society. Therefore, in this paper, I compared this difference in the mother image between the two artists. By expanding the previous studies and analyzing the artists' works in detail, the meaning of Shin's mother image has been revisited in the realm of Minjoong Misool and Yoon's mother image has been reconsidered in comparison with Shin's. Shin's mother was the mother of men, such as Minjok's sons, young men who died in the democratic movement, and male leaders of the movement. Its image is the symbol of Minjok's power that helps Minjok's sons. Mourning images of the mothers whose sons died in the movement present their sons as martyrs and encouraged other sons to more actively participate in the movement. On the other hand, Yoon's mother was the mother of daughters and was presented from the point of view of the daughters who also became mothers. In this paper, Yoon's mother image that has evolved with time was discovered among her unknown but important paintings. Yoon empowered women and woman's voices that had been obscured the power discourse of Minjok. She criticized the illusion of motherhood myth from a woman's viewpoint and represented mothers' lamentation and their effort to emerge from repression. The mother image of both artists is based on the pain that mothers traditionally underwent. One is from the hardship of supporting their sons or the loss of their sons in the resistance movement. The other is from the sadness in being suppressed as woman and mother in the social system. However, the mother who overcame the pain has been represented differently. Shin and Yoon considered the mother as ‘other’ from the men-centered viewpoint and subjects from the feminism viewpoint, respectively. It is noted that both artists' works show the reappearance and evolution of motherhood ideology in a most dynamic period. Motherhood ideology has been continuously reappeared throughout history. It is almost 20 years since the Minjoong Misool declined, and woman power has increased respectively. Korea even has a female president. Therefore, as extension to this study, subsequent studies on motherhood ideology are likely appear and gain in importance. Therefore, the importance of this paper consists in that this mother image, which is differently presented in the paintings of the same age, has been analyzed on the basis of a historical and social background and compared to the Minjoong and feminism viewpoints respectively, as emphasized by two leading artists, Shin and Yoon.

종합병원 행정직원의 조직문화 인식이 정서적 몰입에 미치는 영향: 설립유형과 고용형태별 비교분석

김의연,주재현,신동석 중앙대학교 국가정책연구소 2015 국가정책연구 Vol.29 No.4

최근 들어 병원조직들은 국내외의 급격한 환경변화에 대응·생존하기 위해 조직문화의 개선과 조직몰입의 증대가 긴요한 상황에 놓여 있다. 본 연구는 그동안 적절한 관심을 받지 못했으나 병원경영과 관리의 중추라고 할 수 있는 행정직원들의 조직문화와 정서적 몰입을 분석의 대상으로 하였다. 구체적으로 의료서비스 기관의 특성을 고려하여 병원 설립유형과 고용형태에 따른 행정직원의 조직문화 유형의 인식이 정서적 몰입에 미치는 영향을 분석하고자 하였다. 종합병원 행정직 직원들을 대상으로 실시한 설문조사의 분석결과는 다음과 같다. 첫째, 종합병원 행정직 직원의 조직문화 유형 인식 중 관계지향·혁신지향·위계지향문화가 정서적 몰입에 긍정적으로 영향을 미치고 있는 반면 과업지향문화는 영향력을 확인할 수 없었다. 둘째, 조직문화 유형의 인식과 정서적 몰입 간의 영향관계에 있어 설립유형(국·공립; 사립)에 따른 차이는 확인할 수 없었다. 셋째, 조직문화 유형의 인식과 정서적 몰입 간의 영향관계에 있어 고용형태(정규직; 비정규직)에 따른 차이가 확인되었다. 즉 정규직이 비정규직에 비하여 정서적 몰입에 긍정적이었으며, 정서적 몰입에는 관계지향문화, 혁신지향문화의 순으로 긍정적인 영향을 주는 것으로 나타났다.

브루스 나우만의 은폐된 ‘몸’: 관람자와의 거리 두기

김의연 미술사학연구회 2009 美術史學報 Vol.- No.33

This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will o... This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will over ...

Serous Retinal Detachment Following Combined Photodynamic Therapy and Intravitreal Bevacizumab Injection

김의연,김종완,김준범,류호민 대한안과학회 2009 Korean Journal of Ophthalmology Vol.23 No.2

We report a case of serous retinal detachment following combined photodynamic therapy (PDT) and intravitreal bevacizumab injection in subfoveal choroidal neovascularization (CNV). A 53-year-old woman was diagnosed with subfoveal CNV secondary to age-related macular degeneration (AMD) and treated with combined PDT and intravitreal bevacizumab injection. One day after treatment, the patient experienced a sudden decline of vision and optical coherence tomography (OCT) showed serous retinal detachment involving the macula. She was managed conservatively with an oral steroid beginning on the second day of the combined treatment and the subretinal fluid started to decrease one week following the initiation of steroids. This case suggests that combined PDT and intravitreal injection of bevacizumab can be associated with serous retinal detachment. Additional studies are needed to establish the safety and complications following this treatment regimen.

소절개창 백내장 수술에서 절개방법에 따른 눈물막 안정성 및 자각증상의 변화

김의연,김민호,양홍석,Eei Yon Kim,Min Ho Kim,Hong Seok Yang 대한안과학회 2012 대한안과학회지 Vol.53 No.9

Purpose: To investigate corneal surface changes and subjective symptoms after small incision cataract surgery and to compare the changes between clear corneal incision and corneoscleral incision. Methods: The present prospective randomized study included 18 eyes of 18 patients with corneoscleral incision (Group 1) and 25 eyes of 25 patients with clear corneal incision (Group 2). All patients were examined for tear break-up time (BUT), Schirmer test, cornea and conjunctiva fluorescein staining, and dry eye symptoms using the Ocular Surface Disease Index (OSDI). All values were compared before surgery and at one day, one week, four weeks, and seven weeks after surgery. Results: BUT decreased significantly (p < 0.05) and fluorescein staining scores increased significantly (p < 0.05) at postoperative day 1. The values of BUT and fluorescein staining returned to the preoperative level at postoperative week 3 in Group 1. In Group 2, fluorescein staining scores returned at one week and BUT returned to the preoperative level at postoperative week 3. Postoperative Schirmer test results were unchanged compared to preoperative values, and there was no difference between the two groups. OSDI scores significantly improved compared to preoperative scores at postoperative one week. In Group 1, the scores improved at postoperative one week (p < 0.05) compared to those in Group 2 at postoperative three weeks (p < 0.05). Conclusions: Phacoemulsification with a small incision induced transient corneal surface changes and tear film instability, but the changes returned to the preoperative level at postoperative three weeks. Dry eye symptoms also improved at postoperative one week. The changes lasted longer with clear corneal incision than with corneoscleral incision but returned to the preoperative level at postoperative three weeks in both groups. J Korean Ophthalmol Soc 2012;53(9):1269-1275

데이비드 스미스의 작품에 나타난 자아 이미지

김의연 미술사학연구회 2006 美術史學報 Vol.- No.26

제초제 저항성 단백질 연구 현황과 CRISPR-Cas9 시스템을 활용한 제초제 저항성 토마토 개발 전략

김의연,박효선,구연종,양소희 전남대학교 농업과학기술연구소 2019 농업생명과학연구동향 Vol.57 No.-

The devlopment of herbicde-tolerant plants provide aconvenient farming method. The five most poular herbicdes are glyphosate, sulfonylureas/imdazolinoes, glufosinate, norflurasone and oxyfluorfen. Thes herbicdes inhibt 5-enolpyruvylshikmate-3phosphate synthase (EPS), acetohydroxyacid synthase (AHAS), glutamine synthetase (GS), Phytoen desaturase (PDS) and protporphyrinogen oxidase (PO), respectively. Inhibtion of EPS and AHAS reduces the biosynthesi of phenolic and branched amino acids, respectively, and inhibtion of GS and PDS enhances the production of reactive oxygen specis and induces plant necrosi. Inhibtion of PO decrease chlorphyl biosynthesi and inhibts plant photsynthesi. Thes herbicdes induce plant death by interacting with their target proteins therfore the devlopment of herbicde rsitant plants ibased on the discovery of mutant proteins insensitive tohes herbicdes. We rviewd the devlopment of herbicde-tolerant plants anderived target amino acids for the production of herbicde-tolerant proteins using the CRISPR/Cas9 sytem in tomatoes

한국, 일본, 중국 대학생의 스트레스 원인, 스트레스 관리행동과 내용에 대한 비교연구

김의연,유효숙 인하대학교 교육연구소 2018 교육문화연구 Vol.24 No.1

The purpose of this study is to compare the stressors, stress management behaviors, and the related behavior contents among university students in Korea, Japan, and China. A total of 1,276 participants, consisting of 400 Korean university students, 426 Japanese university students and 450 Chinese university students, completed a sel f-report questionnaire that included stressors, stress management behavior stage of change and behavior contents. The results were as follows: First, Korean students (57.5%), Japanese students (51.0%) and Chinese students (38.1%) did not p ractise stress management behaviors. In addition, in terms of the stress management stages Japanese students were most widely distributed in Pre-contemplation, Korean students in Contemplation and Preparation, and Chinese students in Action. Second, it was found that the most significant stressors were academic stress, career and employment, and human relations. Also, as the most frequent responses, academic stress was shown among Korean students, human relations among Japanese students, and career and employment among Chinese students. Third, in the contents of stress management behaviors, the most frequent responses were physical activities, conversation, and hobbies. Korean students preferred physical activities, and Japanese students liked to have a conversation, while Chinese students showed diverse stress management behaviors. Fourth, there was a difference in the stress management behaviors between male and female. The male students preferred physical activities, while female students preferred to have a conversation. These results implied that for health promotion in three countries, there is a need to consider intervention in the levels of motivation in the stress management behaviors, stressors, and the preferred contents of the stress management behaviors. 본 연구의 목적은 한국과 일본, 중국 대학생의 스트레스 원인과 스트레스 관리행동단계 및 관리행동 내용을 비교 연구하는데 있다. 연구대상은 총 1,276명(한국 대학생 400, 일본 대학생 426, 중국 대학생 450)이었다. 질문지를 사용해서 스트레스 관리행동 변화단계, 스트레스 원인, 스트레스 관리행동 내용에 대해서 조사했다. 결과는 다음과 같다. 첫째, 한국 대학생의 57.5%, 일본 대학생의 51.0%, 중국 대학생의 38.1%가 스트레스 관리행동을 실천하지 않고 있었다. 또한 일본 대학생은 계획전단계, 한국 대학생은 계획단계와 준비단계, 중국 대학생은 실행단계에 가장 많이 분포했다. 둘째, 주요한 스트레스 원인은 학업스트레스, 진로/취업, 인간관계였다. 국가별로는 한국 대학생은 학업스트레스, 일본 대학생은 인간관계, 중국 대학생은 진로/취업이 가장 높았다. 셋째, 스트레스 관리행동의 내용은 신체활동, 대화하기, 취미활동 순으로 많았다. 국가별로는 한국 대학생은 신체활동을, 일본 대학생은 대화하기를 가장 많이 사용했다. 중국 대학생은 신체활동, 대화하기, 취미활동을 비슷한 비율로 사용했다. 또한 성차가 있었는데, 남학생은 신체활동을, 여학생은 대화하기를 보다 많이 활용했다. 이상의 결과로부터 세 나라 대학생의 정신건강증진을 위해서는 스트레스 관리행동에 대한 동기수준과 스트레스 원인, 스트레스 관리행동의 내용에 대한 선호도를 고려한 중재연구의 필요성이 시사되었다.

한국, 일본, 중국 대학생의 사회적 지원과 자기효능감이 스트레스 지각과 웰빙에 미치는 영향 비교분석

김의연,박영신,김의철,Tsuda Akira,Matsuda, Terumi,Deng, Ke 한국인간발달학회 2013 人間發達硏究 Vol.20 No.4

The purpose of this research was to examine the influence of social support and self-efficacy on perceived stress and well-being among Korean, Chinese and Japanese university students. A total of 1,276 respondents (400 Korean, 450 Chinese and 426 Japanese university students) completed a self-reported questionnaire that included the following scales: self-efficacy, social support, well-being, and perceived stress. Data were analyzed using structural equation modeling. The results were as follows. First, Korean and Chinese students had greater social support, higher resilience of self-efficacy, lower scores on the perceived stress and higher score on well-being than Japanese students. Second, social support reduced perceived stress and increased well-being directly or through self-efficacy. Third, self-efficacy influenced perceived stress to a larger extent for Korean and Japanese students than Chinese students. Fourth, perceived stress influenced the well-being of Korean students to a larger extent than it did for Japanese and Chinese students. The results indicate that social support and self-efficacy improve well-being and alleviate the experience of perceived stress for Korean, Japanese and Chinese students.