블랑쉬의 외상후 스트레스 장애 증후군에 관한 소고

조숙희 중앙대학교 외국학연구소 2014 외국학연구 Vol.- No.27

Blanche Dubois, the heroine of A Streetcar Named Desire, written by Tennessee Williams, has been interpreted as the most typical character of his dramatic world, with her neurotic, helpless, and sensitive personality that drives her out of society and keeps her wandering as a fugitive victim. Within this perspective, Blanche is not entitled to be regarded as a tragic heroine who braves the ordeals cast upon her and finally achieves the integrity of any decent human being. However, if Blanche is understood as a case of PTSD (Post-Traumatic Stress Disorder), one finds that she tries her best to overcome the series of traumatic events that plague her and to obtain a spiritual peace and physical calmness. During the process of fighting against the typical symptoms of PTSD such as hyper-arousal, intrusion and constriction, Blanche shows that she is not merely a helpless victim of neurosis, but a desperate warrior who fights against terror and guilty feelings and tries to reenter the sphere of normal life. In that sense, she is somewhat a qualified heroine of tragedy who makes efforts to find meaning and integrity in life.

MR Discography의 임상적 적용 가능성 및 유용성

조숙희,홍성우,권효주,조성봉,고중석,김성룡 대한자기공명기술학회 2006 대한자기공명기술학회지 Vol.16 No.-

캠퍼스에서 부르는 희망과 축복의 노래

조숙희 한국지역사회연구소 2009 지역사회 Vol.60 No.-

트로츠키주의의 이상과 현실: Brenton의 Weapons of Happiness

조숙희 한국현대영미드라마학회 1996 현대영미드라마 Vol.- No.6

『메리 트레버스의 우아함』에 나타난 제 3의 공간 연구

조숙희,홍현선 중앙대학교 외국학연구소 2010 외국학연구 Vol.14 No.2

In this paper, we try to analyze the corelation of Timberlake Wertenbaker's heroine's moment of awakening with Julia Kristeva's theory of "the third space". Kristeva insists that the third space removes the distance between two rival entities, such as man/woman and ruling class/not ruling class. The new feministic approach by Kristeva rejects the dichotomy created by the extremely stubborn attitude of binerism. While Kristeva insists on the experience of the third space and personal development, Wertenbaker's The Grace of Mary Traverse presents the heroine who moves into the cognitive third space through a journey. Mary, the heroine, has a chance to experience the power of man's world-sexual pleasure, gambling and politics. After the journey, she gets the cognitive third space with Sophie's help who has a simple and sincere view for the world. "The third space" which does not contain the strict boundary between sexes and classes and any other two opposite world enables the Wertenbaker's characters to establish their identity and hope safely.

위험의 시대와 문학의 상관관계: 『머스그레이브 하사의 춤』연구

조숙희 중앙대학교 외국학연구소 2015 외국학연구 Vol.- No.32

One of the most prominent characteristics of the modern age is the ubiquity of peril and danger. Even though humankind enjoys the fruits of scientific and technological development, it faces the ubiquitous presence of far greater danger than ever before. As a result, more and more people suffer from posttraumatic stress disorder (PTSD), having been overwhelmed emotionally and spiritually by unforgettable, threatening, and dangerous experiences. The most common symptoms are severe depression, sleep disorders and aggressive and destructive responses. Sergeant Musgrave’s Dance is one of the precursors in literature that deals with this syndrome. Sergeant Musgrave and his men have been exposed to extremely perilous circumstances during which they feared being killed, and then they suffered for the violence they themselves had committed to the civilians in the territory occupied by the British soldiers. In the process of deserting from the battlefield and trying to finding a way to stop the atrocities of war, they become the miserable victims of PTSD, to the extent that they are unable to fulfill their goal of bringing peace to the world.

조지 필의 『다윗왕과 밧세바의 사랑 이야기』: 관능성과 도덕성의 조화

조숙희 한국중세근세영문학회 2004 고전·르네상스 영문학 Vol.13 No.2

George Peele's King David and Fair Bethsabe is unique in that it is only extant Elizabethan play which deals with Biblical stories. The play has collected much criticism that it lacks any kind of unity, by casually paralleling two different plots--the love story of David and Bethsabe and the rebellion of Absalon, one of David's sons. The main purpose of this essay is to trace out the unity which closely connects the two seemingly unrelevant stories.First of all, Bethsabe and Absolon are common in that they have outstanding beauty; their beautiful features create sensual and sexual atmosphere. However, their beauty finally turns out the disastrous outcomes: adultery with regal power and rebellion against regal power.Second, the two plots wrought by Bethsabe and Absolon are interconnected with the most important incidents in this play--the death of David's three sons.Only after the repentance of his guilt and acceptance of his three sons, David can confront the bright future represented by his another son, Solomon. Solomon represents morality survived the sins and disasters of David's house.In sum, the two plots are united and lead to the redemption and regeneration of David's house, harmonizing sensual and moral characteristics of this play.

간호대학생의 그릿(Grit)과 비판적 사고성향이 임상수행능력에 미치는 영향

조숙희,윤경순 보건의료산업학회 2020 보건의료산업학회지 Vol.14 No.2

Objectives: A descriptive survey was used in this study to identify the relationship between nursing students’ grit, critical thinking disposition, and clinical competence and to examine factors that influence clinical competence. Methods: Data were collected from 241 nursing students and analyzed using t-test, ANOVA, Scheffé test, Pearson correlation, and stepwise multiple regression analysis with the SPSS/WIN 24.0 PC program. Results: Clinical competence was found to have significant pure correlations with critical thinking disposition (r=.49, p<.001), and grit (r=.31, p<.001). The most influential factors influencing nursing students’ clinical competence were critical thinking disposition (β=.35, p<.001), and grit (β=.28, p<.001), and these factors explained 33% of the variance in clinical competence. Conclusions: The findings indicate the need to develop and apply strategies and educational programs to enhance individual nurse's critical thinking disposition and grit. Furthermore, exploration is needed on ways to enhance clinical competence.

A Narcissistic Pool 조셉 콘래드의 소설 로드짐에 나오는 파투산과 해롤드 핀터의 희곡 No Man's Land에 나오는 No Man's Land의 비교 연구

조숙희 한국현대영미드라마학회 1994 현대영미드라마 Vol.- No.3

사회적 텍스트로 본 『스캔들 학교』

조숙희 한국중세근세영문학회 2012 고전·르네상스 영문학 Vol.21 No.1

The School for Scandal (1777) is Richard Sheridan’s representative play of the Restoration comedy, dealing with the process of producing scandals and distributing them to the public and thereby doing mischief to the innocent victims. Therefore, the characters are classified into two groups in the play: so called the students of the school of scandal, and the good people who fall victim to malicious scandals or stand far away from the harmful circle. In that respect, this play has been classified as an example of “sentimental comedy” of which main message is poetic justice. However, two important characters—Charles Surface and Mrs. Teazle—show some ambiguities which make it rather difficult to categorize them into good guys within the paradigm of traditional sentimental comedy. It is mainly because their behaviors—seemingly genuine and moral—can be interpreted as those derived from an ultimately mercenery and self-interested motivation. In the play, even good characters cannot be immune to the megatrend of new commercialism and consumerism of the society at that time. Therefore, one can better understand the loophole of the characterization of the play as a sentimental comedy, through reading the play as a social text that vividly shows the social trends of the English society in the late 18th century. The School for Scandal (1777) is Richard Sheridan’s representative play of the Restoration comedy, dealing with the process of producing scandals and distributing them to the public and thereby doing mischief to the innocent victims. Therefore, the characters are classified into two groups in the play: so called the students of the school of scandal, and the good people who fall victim to malicious scandals or stand far away from the harmful circle. In that respect, this play has been classified as an example of “sentimental comedy” of which main message is poetic justice. However, two important characters—Charles Surface and Mrs. Teazle—show some ambiguities which make it rather difficult to categorize them into good guys within the paradigm of traditional sentimental comedy. It is mainly because their behaviors—seemingly genuine and moral—can be interpreted as those derived from an ultimately mercenery and self-interested motivation. In the play, even good characters cannot be immune to the megatrend of new commercialism and consumerism of the society at that time. Therefore, one can better understand the loophole of the characterization of the play as a sentimental comedy, through reading the play as a social text that vividly shows the social trends of the English society in the late 18th century.