부산지역 양호교사의 업무분석에 관한 연구

김이순,김복용,Kim, Lee-Sun,Kim, Bok-Yong 한국지역사회간호학회 1989 지역사회간호학회지 Vol.1 No.1

The purpose of this study was to find out the general characteristics of school health teachers, the status of school health resources and the degrees of self-confident performance for the 124 school health teachers in Pusan City. Data was collected by means of questionaires from Aug. 1986 to Mar. 1987. The data were analyzed by use of percentage, mean, standard deviation, t-test, ANOVA and Pearson-correlation coefficient. The results of this study were as follows: 1 . General Characteristics of School Health Teachers (SHT) 1) The average of age of the SHT was 32.8 years old and 39.5% of them were from 30 to 34 years old. 2) The average for school nursing experience of the SHT was 7.9 years and 37.9% of them were from 5 to 9 years. 3) The 45.2% of them have not the clinical experience. 4) The 74.2% of them were graduated from the 3 years college of nursing. 2. Status of school health resources and nursing activities. 1) The average of student number was 2497.3 and class number was 45.2. 2) The average of school health budget was 1039000 won and 27.7% of school health budget expended on examination cost. 3) Only 29.0% of all schools have organization for school health. 4) The 84.7% of all schools have health clinic separately and 69.1% of schools have less than $33m^2$ sized. 5) The average of clinic visitor number was 2111.8 for 1 year. 6) Major problem was on digestive system. And other problems were skin, respiratory, musculo-skeletal system and dental problem. 7) The number of literal message was 14.4 times for 1 year. 3. The degree of the school health teachers' self-confidence. The school health teachers' self-confidence was deviced into 6 and the maximum degree was 4. 1) Program planning & evaluation; 2.8 2) Clinic management; 2.9 3) Health education, 3.0 4) Management of school environment; 2.7 5) Health care services; 2.7 6) Operating of school health organization; 2.4 4. Significances to the degree of self-confidence on school health nursing activities. 1) There was significant difference between clinical management and Religion (t=2.15 p<.05) 2) There was significant difference between Operating of school health organization and level of school (F=3.588 p<.05) 3) Program planning & evaluation: expending time for clinical management (r=-0.184 p<.05) expending time for health care services (r=0.273 p<.01) 4) Clinical management: use of separate health clinic (r=0.151 p<.05) 5) Health education: use of separate health clinic (r=0.170 p<0.5) 6) Health care services: No. of student (r=-0.144 p<0.5) No. of class (r=-0.160 p<.05) 5. The degree of the school health teachers' self-discipline. The school health teachers' self-discipline was devided into 2 and the maximum degree was 2. 1) Program planning & evaluation:1.8 2) Clinic management: 1.9 3) Health education: 1.9 4) Management of school environment: 1.7 5) Health care services: 1.8 6) Operating of school health organization.: 1.3 6. Significances to the degree of self-discipline on school health nursing activities 1) Program planning & evaluation; Level of nursing education (F=4.309 p<.01) 2) Clinical management: Level of nursing education (F=3.587 p<.05) 3) Operating of school health organization: School health organization (t=-2.68 p<.01) 4) Health care services: School health organization (t=2,58 p<.05) 5) School health performance: School health organization (t=2.32 p<.05) 6) Program planning & evaluation: School health experience (r=0.239 p<.01) Expending time for program planning & evaluation (r=-0.172 p<.05) 7) Clinic management: School health experience (r=0.249 p<.01) Expending time for dinic management (r=0.181 p<.05) No. of student (r=-0.158 p<.05) Expending time of program planning & evaluation (r=-0.199 p<0.5) 8) Health education: School health experience (r=0.234 p<0.1) Expending time of program planning & evaluation (r=-0.193 p<.05) 9) Management of school environment: Age of school health teacher (r=0.142 p<.05) School health experience (r=0.

뇌졸증 환자의 희망

김이순 대한간호협회 1996 대한간호 Vol.35 No.1

광통교의 구(舊) 정릉(貞陵) 석물 연구

김이순(金伊順) 한국미술연구소 2019 美術史論壇 Vol.- No.49

The most significant bridge in Seoul, Kwangtong Bridge of Cheonggye stream, was constructed as a stone bridge in 1410. As Kwangtong Bridge was hastily being built, tomb sculptures left when Queen Sindeok’s Jeongneung (royal tomb) was moved to the current Jeongneungdong were used for the construction. It is unusual in the Joseon dynasty to reuse sculptures left from moving a royal tomb for construction of a bridge. Moreover, damaged patterns of the sculptures and some upside down were able to grasp attention of the public; however, there were nearly no academic investigations. This study targeted to examine the historical value of the sculptures of the old Jeongneung, used for Kwangtong Bridge. The study first puts its focus on the most obstructive parts of Kwangtong Bridge, the damaged and upside down byeongpung-seoks (flat patterned stones). This may reveal a political conflict between King Taejong and Queen Sindeok. This study used this assumption to suppose the process in the construction of Kwangtong Bridge. It also reveals that the purpose of sculpture-reuse was to reduce the amount of work in using stone and to make work easier in the situation where Kwangtong Bridge had to be speedily built in the beginning of the Joseon dynasty. Kwangtong Bridge’s sculptures, which are byeongpung-seok, seokin (stone human figure), seoksu (stone animal), and mangjuseok (stone pillar), and ones placed at the new Jeongneung such as stone lantern, pestle and stone dais for the spirit of the dead were used for revealing the old Jeongneung’s overall structural basis. The old Jeongneung not only has similar structure and size with King Gongmin’s tomb, but also their styles of sculptures are alike, while Guemgangjeos made of corner stones and naeodus (face of a beast biting a ring-handle) made of old stones are similar to those of King Taejo’s tomb. This reveals that the style of the old Jeongneung sculptures was in-between the process of King Gongmin’s tomb continuing on to King Taejo’s tomb being built. Therefore there are more possibilities of truth in the assumption that King Taejo’s tomb, the model of royal tombs of the Joseon dynasty, is formed from the basis of Queen Sinduk’s tomb which was in the palace, instead of King Gongmin’s.

부산지역 양호교사의 업무분석에 관한 연구

김이순,김복용,Kim, Lee-Sun,Kim, Bok-Yong 한국지역사회간호학회 1990 지역사회간호학회지 Vol.2 No.1

존재의 내면 표현을 위한 실험과 모색: 권진규의 건칠조각

김이순 미술사연구회 2018 미술사연구 Vol.- No.35

이 논문은 권진규의 건칠조각을 고찰하기 위해서 전통 건칠불의 기법과 권진규의 건칠 기법을 비교하고 권진규의 건칠조각의 조형적 특징과 미술사적 의의를 살펴보았다. 순수조각가들이 거의 사용하지 않는 건칠에 대해 권진규가 관심을 갖게 된 것은 일본에서 야마모토 토요이시의 건칠 작품을 접하면서였는데, 본격적인 건칠작품은 귀국 후 1960년대 후반부터 제작했다. 권진규는 야마모토의 건칠작품에서 조각의 새로운 표현 가능성을 발견했지만, 야마모토의 건칠작품의 조형적 특징인 매끈한 표면에는 관심이 없었다. 즉, 이형제로 인해 발생한 불완전한 부분을 도포하여 매끈한 표면을 만드는 일반적인 건칠조각 과정을 선택하지 않았다. 오히려 이형제나 생옻에 토분이나 기와가루 같은 거친 재료를 섞어서 표면을 거칠게 처리했으며 건칠의 고유한 갈색조보다는 회색이나 검정색과 같은 무채색을 선호했다. 권진규의 건칠작품은 대체로 1970년을 기점으로 前後로 전반기와 후반기로 나눌 수 있는데, 처음에는 무겁고 깨지기 쉬운 테라코타 조각의 단점을 보완할 수 있는 재료로 건칠을 선택한 것으로 보인다. <곡예>, <망향자>와 같은 부조 작품을 제작했으며, 점차 건칠조각의 가볍고 유연성이 있는 장점을 살려 가늘고 긴 다리로 서 있는 말을 조각했다. 후반기에는 건칠재료의 물리적인 장점과 더불어 다양한 표현의 가능성을 발견했다. 두 다리로 통통한 몸통을 치켜세우고 있는 <서 있는 말>에서는 입을 벌려 하늘을 향해 절규하는 듯한 표정, 피부의 거친 질감으로 감정적인 측면을 시각화했으며, <십자가에 매달린 그리스도>에서는 요철이 심한 얼굴, 축 처진 팔과 거친 표면 질감으로 십자가 처형의 고통을 표현했다. 말년에 새로운 석고 원형작업이 불가능할 정도로 건강이 좋지 않았을 때는 이전에 테라코타 작품에 사용했던 석고틀을 활용해서 건칠상을 제작했는데, 표면을 매우 거칠게 처리해서 자신의 테라코타 작품의 탄탄한 구조나 단아함과는 전혀 다른 분위기의 작품을 제작했다. 이형제에 기와가루을 섞고 생옻의 양을 줄여서 삼베가 밀착되지 않게 처리함으로써 발생한 결과다. 이러한 건칠 작품에서는 권진규가 테라코타 작품으로 표현하고자 했던 ‘만물의 구조’를 찾아볼 수 없으며, 작가의 심리상태나 주관적 감정이 강하게 표출되어 있다. 요컨대, 권진규가 건칠을 조각의 재료로 선택한 것은 전통 계승의 차원을 넘어서, 내구성과 방습성으로 영원성을 획득할 수 있었으며 작품 무게의 가벼움과 같은 장점을 살려 테라코타 작품이 지닌 표현의 한계를 극복할 수 있었다. 더구나 건강에 문제가 생겼을 때조차도 남의 손을 빌리지 않고 손수 작품을 마지막까지 제작할 수 있는 기법이기도 했다. 그러나 무엇보다도 권진규는 건칠작품을 통해서 테라코타 작품에서 강조한 만물의 구조나 사실주의적인 측면과는 전혀 다른, 표현성이 강한 감성적 측면, 특히 말년의 무너져가던 작가 자신의 심리상태를 효과적으로 표현하여 실존의식을 담아냈다는 점에서 미술사적 의의가 크다고 하겠다. This study considers the dry lacquer sculptures of Kwon Jin Kyu. To this end, it comparesKwon's dry lacquer techniques to those traditionally used in Buddha statues, while examining theformal characteristics and art-historical significance of his sculptures. Kwon first became interested indry lacquer, a material rarely used in sculpture, after encountering the works of Toyoichi Yamamotoin Japan. He began using dry lacquer in his works in earnest in the late 1960s, after returning toKorea. Kwon discovered new expressive possibilities in Yamamoto's dry lacquer works, but was notinterested in their smooth, shiny surfaces, one of the characteristics associated with dry lacquer. Rather than choosing the conventional dry lacquer process of creating a smooth surface by applyinglacquer to imperfections caused by the release agent, Kwon mixed coarse materials such as clay fillerpowder or ground traditional giwa roof tiles with release agent or raw lacquer to create roughsurfaces, showing a preference for achromatic shades such as gray and black rather than thecharacteristic brown tones of dry lacquer. Kwon's dry lacquer works can broadly be divided into early and late periods, with the transitionfrom the former to the latter occurring in 1970. It appears that he first chose dry lacquer as amaterial capable of overcoming the disadvantages of terra-cotta sculptures, which were both heavy andfragile. Kwon produced relief works such as Acrobatics (Gogye) and Homesick Man (Manghyangja)while gradually also beginning to take advantage of the lightness and flexibility of dry lacquer byproducing sculptures of standing horses with long, slender legs. In his later period, Kwon discoveredvarious expressive possibilities of dry lacquer while exploiting its physical strengths. In Standing Horse,a horse with a plump body rearing up on its hind legs, he uses the horse's open mouth, facepointing up to the sky, and roughly-textured skin to give visual form to emotion. In Crucifix, heuses rugged facial features, sagging arms and rough surface textures to express the pain of crucifixion. In his later years, when Kwon's health deteriorated to the extent where he was no longer able tocreate new plaster molds, he began using molds made earlier for his terra-cotta works to producedry lacquer statues. He rendered the surfaces of these works extremely coarse, creating a moodcompletely different to that of the robust structures and elegance of the terra-cotta works. This wasthe result of mixing powdered roof tiles with the release agent and reducing the amount of rawlacquer, so that the hemp fabric did not stick. These dry lacquer works contain no trace of thestructure of things that Kwon attempted to depict in his terra-cotta works; rather, they are powerful expressions of the artist's mental state and subjective emotions. In sum, Kwon Jin Kyu's choice of dry lacquer for his sculptures goes beyond the continuation oftradition: The material's durability and damp-proof qualities gave Kwon's works permanence, while heused its other advantages, such as lightness, to overcome the expressive limitations of his terra-cottaworks. Dry lacquer also offered a working method that allowed Kwon to continue creating sculptures,unaided, to the very end, even after he developed health problems. But above all, Kwon's drylacquer works are significant in terms of art history because of their powerfully expressive emotionalaspects – totally unlike the universe structure and realist aspects emphasized in his terra-cotta works– which embodied an existential awareness by effectively expressing Kwon's own collapsing mentalstate in his final years.

검사소에 얽힌 뒷이야기

김이순,Kim, Lee-Sun 한국건강관리협회 1982 건강소식 Vol.6 No.7

노인의 근골격계 특성에 적합한 기공운동 개발을 위한 기초연구

김이순,이정원,김경철,박태섭,곽이섭,이해웅,Kim, Yi Soon,Lee, Jeong Won,Kim, Gyeong Cheol,Park, Tae Soeb,Kwak, Yi Sub,Lee, Hai-Woong 대한예방한의학회 2014 대한예방한의학회지 Vol.18 No.2

Objective : The objective of this study is to develop a Qigong exercise program to reinforce musculoskeletal system of seniors appropriate for physical strength and conditions of seniors aged 65 years or above based on health Qigong exercise of oriental medicine. Method : Qigong exercise motions that can improve strength, muscular endurance, flexibility, and cardiovascular endurance of seniors were developed by primarily performing literature review of Qigong experts on the fields like oriental medicine, Qigong exercise, physical education and health science and secondarily using motion training for increased validity of motions. Results : The Qigong exercise program for musculoskeletal system of seniors was designed with 12 motions repeated 8 times and 20 minutes per session, including shoulder exercises (alternate turning of left and right shoulders, turning both arms back and forth, holding and lifting elbow to put it aside), waist exercises (wrapping the head with hands to bow, twisting waist while looking at the tip of hand, large spinning of ball, putting hands together to pull back), and knee exercises (going up a down while lifting a rock, balancing the body while lifting a knee, lifting and spreading knees while drawing circle with arms, raising both arms to the side while lifting heels, breathing). Conclusion : Once the effects of Qigong exercise for musculoskeletal system of seniors developed in this study are tested, the program is expected to contribute to development of Qigong exercise, a core part of oriental medicine health improvement project.

기공운동과 탄력밴드운동이 여성노인의 체력, 일상생활동작, 우울에 미치는 효과

김이순,김경철,이정원,김창태,오미정,곽이섭 한국웰니스학회 2013 한국웰니스학회지 Vol.8 No.4

본 연구는 65세 이상 여성 노인 100명을 대상으로 운동군(n=50), 비운동군(n=50)으로 분류하여, 10주간의 기공운동 및 탄력밴드를 이용한 운동프로그램을 주 3회, 10주간 실시하여 여성노인의 체력, 일상생활동작, 우울에 미치는 효과를 평가하기 위하여 실시하였다. 그 효과를 평가하여 다음과 같은 결과를 도출하였다. ‘일상생활 동작’, ‘우울’, ‘균형능력-발모아서기’, ‘균형능력-외발서기’,‘보행속도-의자에서 일어나 3m 왕복하기’, ‘근력-의자에서 5회 일어서기’, ‘근력-악력’ 및 ‘유연성-등뒤에서 손잡기’ 등에서 운동군이 비운동군에 비해 유의하게 긍정적인 영향을 미치는 것으로 나타났다. 향후의 연구에서는 본 연구를 기초로 보다 효과적인 노인건강증진 운동프로그램의 개발이 진행되어 야 할 것으로 사료된다. This study investigated the effect of 10 weeks' Qi-gong and elastic band exercise on fitness, ADL and depression in elderly women. For this study, participants were divided into two groups, exercise group(n=50), non-exercise group(n=50). The study used a non-equivalent control group non-synchronized design. The experimental group received Qi-gong and elastic band exercise 3times a week for 10 weeks. The results of the research were as follows. ‘activities of daily living’, ‘depression’, ‘balance-take feet together’, ‘balance-single leg stance’, ‘gait speed-3m up & go and sit to stand respectively’, ‘strength-chair stand in 5times’,‘strength-grips’, ‘flexibility-back scratch’ were positive effect on elderly women’s health promotion. For further studies, it seems necessary to carry out an accurate observation into seniors exercise programs, various periods of exercise, life styles and patterns and even their eating habits, which is different from the research subjects for this study.

융릉(隆陵)과 건릉(健陵)의 석물조각

김이순 미술사학연구회 2008 美術史學報 Vol.- No.31

The forty-two royal tombs created throughout the reigns of the Joseon Dynasty's 27 monarchs kept a consistent structure. This paper proposes that the Dynasty assured its authority and orthodoxy by keeping the royal tombs in a coherent form, despite their different styles in detailed parts. Tomb sculptures are especially important to prove this proposition. The stone sculptures of the 40 royal tombs from the Joseon Dynasty were constructed in South Korea with the same structure, but they have distinctive characteristics such as in types, sizes, styles, and symbolic images of details. Art history puts a high value on these differences, which reflect the creators' interests as well as the political, cultural, and economic conditions when the sculptures were produced. This paper analyzes the sculptures of two royal tombs: Yungneung (built, 1789), the tomb of Prince Sado and Geolleung (1821), the tomb of King Jeongjo. It closely examines their roles in the stream of Joseon Dynasty's tomb sculptures. Yungneung and Geolleung are now seated side by side in Hwasan, Suwon. The stone sculptures of the two tombs, with similarities to each other, are at an interval of only eleven years: the Yungneung sculptures were built in 1789; the Geolleung sculptures in 1800. The paper also studies aesthetic views during the reign of King Joengjo by reviewing artistic characters and symbolic images that are presented in the two tomb sculptures. Furthermore, the paper notes that stone sculptures, which presumably belonged to Suenmyo (1762), Prince Sado's original tomb, are now installed at Hwigyungwon. Lastly, the paper verifies, through the comparison of the tomb sculptures of Suenmyo and the current sculptures of Yungneung, how King Jeongjo expanded Hyeollyungwon and how these tomb sculptures are different from the original sculptures. The tomb sculptures of Yungneung and Geolleung are more representational and positivist, and contain more realistic depictions than previous sculptures. This realistic style had already started to show in Hongneung (1757), the tomb of King Yeongjo's wife, Queen Jeongsun, and continued to Suenmyo (1762), the predecessor tomb of Yungneung, Wolleung (1776), the tomb of King Yeongjo, which was constructed during the reign of King Jeongjo, and Yungneung. Finally, this realistic style was fully developed in Geolleung. The development of this realistic style corresponded with the trend among late 18th century Korean portrait painters to focus on realistically depicting one's appearance. In particular, the Geolleung stone sculptures, which depict realistic and detailed forms, share this same naturalistic style utilized by those late 18th century painters. In addition, the details of those sculptures portray more painterly, subtle and harmonious qualities than any other royal tomb sculptures. This realistic style has a tight connection with the style of the court painters that thrived during the reign of King Jeongjo. During the 519 years of the Joseon Dynasty, a dynasty that highly valued traditions, the royal tomb sculptures kept a consistent structure, but artistic differences in stone sculptures of each tomb imply political, cultural, and economic conditions of each period when they were created. Therefore, the royal tomb sculptures created during the Joseon Dynasty are very important works in Korean art history.

한국 현대조각 연구사

김이순(金伊順) 한국미술연구소 2020 美術史論壇 Vol.- No.50

This paper studies history of the research on Korean sculpture after the liberation. In the same manner of analyzing modern art as before and contemporary art as after the liberation in Korean modern and contemporary art history, this paper studies Korean sculpture after the liberation. In fact, a significant development in sculptural works has occurred then. In 1925, when Kim Bok-jin graduated from Tokyo Fine Arts School in sculpture and was actively working as a sculptor, his sculpture began to develop completely different from the traditional one. Instead of functional ones such as Buddhist or tomb sculptures, sculpture as fine art began to emerge as a new genre in Korean art history. In Korean modern days, not only were there just a few sculptors, their works were mostly based on methods such as carving or modeling realistic figures. Therefore, studies on Korean modern sculpture do not exist abundantly. After the liberation, abstract sculpture as well as newly approached sculpture with various methods and materials began to rise. However, a spectrum of contemporary sculpture became very broad that it was difficult to even categorize sculpture as one genre. After three-dimension was developed, its term has been used along with the term sculpture. Also, anti-sculpture became apparent as dimensions being involved and materials becoming diverse, and yet it came to have inseparable relationship with installation art. Although, a boundary between genres became obscure, this paper analyzes various studies on sculpture within art genre in Korean contemporary art history. Studies of Korean contemporary sculpture can be classified into before and after the 1990’s while studies before the 1990’s were largely based upon its overview and the secondary element of studies in painting. In 1990’s, scholars of sculpture began to emerge, and studies on characteristics of Korean contemporary sculpture started to expand deeply. Furthermore, objectives and perspectives on research came to accumulate little by little in various ways. This paper seeks the aspects of this phenomenon in detail, and the discussion is organized as follows: first, it overviews the development of Korean contemporary sculpture, and analyzes the studies that achieved concept and terminologies of sculpture. Then it examines into two subject matters, sculpture as fine art and sculpture as public art. The subject of discussion is based on research papers, academic journals, scholarly articles from anthology, and writings from the exhibition catalogue from the National Museum of Modern and Contemporary Art covering Korean sculpture after the liberation. The ultimate purpose of this study is to exceed discussions which have been primarily in painting, and to examine Korean contemporary art history in equitable perspectives.