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응급실에 급성 복통으로 방문한 가임기 여성의 골반염과 급성 충수돌기염의 감별을 위한 점수 체계의 외부적 타당화 연구
강의혁,이휘재,신종환,홍기정,정진희 대한응급의학회 2015 大韓應急醫學會誌 Vol.26 No.1
Purpose: Differential diagnosis of acute abdominal pain of the childbearing age woman is a difficult challenge to the emergency physician. Clinical scoring systems for pelvic inflammatory disease (PID) and acute appendicitis have already been introduced. We want to validate these scoring systems externally. Methods: This study was conducted at a single urban teaching hospital emergency department from May 2011 to September 2013. Retrospective analysis of a prospectively collected registry for reproductive-aged women was performed. Results: A total of 1432 patients were registered. Among them, 322 patients diagnosed as PID (177 patients) or acute appendicitis (145 patients) were finally analyzed in this study. Among the PID and acute appendicitis scored, lower and higher cut-off points were 3 and 8 for PID risk score, and 6 and 10 for appendicitis risk score. PID risk score of PID patients was 7.0 (±1.9), acute appendicitis patients was 4.3 (±2.1), and other patients was 4.0 (±2.2) (p<0.001). Appendicitis risk score of PID patients was 5.7 (±1.9), acute appendicitis patients was 9.0 (±2.1), and other patients was 5 (±1.6) (p<0.001). The areas under the receiver operating characteristic curves were 0,832 and 0,950?for diagnosis of PID with PID risk score and acute appendicitis with appendicitis risk score, respectively. Conclusion: These scoring systems have appropriate diagnostic power for diagnosis of PID and acute appendicitis.
Characteristics of cardiac arrest patients with shock-resistant ventricular arrhythmia
강의혁,김태윤,김중희,이중의,김규석,조유환,이진희,이재혁,김유진,권혁술,홍원표,박찬종,정혜진,권혁술 대한응급의학회 2013 대한응급의학회 학술대회초록집 Vol.2013 No.2
Backgrounds: Shock-resistant ventricular arrhythmia (VA), defined as sequential shock failures without detectable pulse more than three times, is a phenomenon often encountered in emergency department during resuscitation of out-of-hospital cardiac arrest (OHCA) patients. Understanding the characteristics of patients developing the phenomenon might be helpful for early recognition and timely intervention. Methods: OHCA registry of a tertiary hospital emergency department extending from 2008 to 2012 was reviewed. Patients with serial unsuccessful defibrillation attempts ≥3 and those with defibrillation success within 3 attempts were included as shock-resistant VA (SRVA) and shock-susceptable VA (SSVA) group. Results: 99 patients (49 for SRVA and 50 for SSVA) were included for study. There was no significant difference in demographic and prehospital factors between SRVA and SSVA group except the higher incidence of presumed cardiac etiology in SRVA group (p=0.001). As for electrolyte level and ABGA results, serum pH level was significantly higher in SRVA group (p=0.021). Patients with SRVA showed significantly lower chance of achieving sustained ROSC (p<0.001). However, once they are successfully resuscitated, their long-term prognosis was not significantly different from that of SSVA. Conclusion: Presumed cardiac etiology and higher serum pH level were significantly associated with increased risk of SRVA which is associated with poor resuscitability.
Jeff Wall’s Politics of Representation of the Other
강의혁 서울대학교 미국학연구소 2019 미국학 Vol.42 No.2
This article explores the photographic work of North American artist Jeff Wall. While his photographic work has been much discussed in terms of aesthetics and composition highlighting his methodological appropriation of modernist painters such as Eduard Manet and Piet Mondrian, the political aspect of his work remains to be investigated. This article especially unpacks the complicated dialectical relationship between the formal aesthetics and the political nature of his works by visiting his photographic work in the context of contemporary debates on the contradiction and conflicts between aesthetics and politics in photographic form. Ultimately, this article argues that Wall’s photograph acquires its political meaning by problematizing the reified social representation of the other in a way in which the materiality and/or otherness of the photographic object is registered within the photographic frame and by representing the violence of the social representation and the un-representability of the object/other.
프레드릭 제임슨(Fredric Jameson)의 폭력비판
강의혁 한국아메리카학회 2018 美國學論集 Vol.50 No.2
This paper analyzes the ways in which Fredric Jameson comments on, critiques, and theorizes historical violence. While he never launched a full-fledged theory of violence, his idea of social antagonism, collectivity, and Utopian politics demonstrates a clearly discernible position on violence. As Jameson’s Utopian politics is grounded upon a profound reflection on the historical nature of systemic violence, his scholarship suggests a lens through which to locate the collective Utopian aspirations that cannot be reduced to factional interest and/or even antagonistic class relations. While the issue of violence is usually approached as a specifically political issue, and thus often led to a countering political violence and/or a provisional legal remedy, Jameson’s critical methodology suggests that a genuine attempt to deal with violence will have to consider the embedded nature of political violence in the areas of the economic and the cultural. In a nutshell, Jameson’s method is the sublation of present historical violence―collectively building up an alternative, though long-term, vision of a “different” society from within.
『유독한 신체』에 드러난 수전 안토네타의 신체의 정치학
강의혁 한국아메리카학회 2023 美國學論集 Vol.55 No.3
As an environmental memoir, Body Toxic records the author Susanne Antonetta’s struggle to survive historically sedimented environmental violence while suffering from many diseases such as multiple pregnancy, miscarriage, radiation-induced tumor, double uterus, etc. caused by her exposure to nuclear waste and pesticides. Reading the traces of environmental violence inscribed on her own memory and body, the memoir is a corporeal text where not only the traditional binary oppositions of human and nature, subject and object, and memory and body are deconsturcted, but also is problematized the bifurcated and commonsensical patterns of thought between ‘objective’ scientific knowledge and social discourses. Antonetta’s textual politics departs from the traditional memoir narrative as well as from the conventional novelistic narrative that are invested in the narrator/protagonist’s moral and subjective journey. Instead, it tries to construct, on the axis of trans-corporeality, an allegorical map on the ‘insignificant’ characters, stories, matters whose presence cannot be denied by the current capitalistic regime’s discursive dominance. Through the allegorical narrative strategy, this material memoir carves out the space of the new common for those whose places are constantly ruinated by the dominant social ideology.
가족-공동체의 도래를 기다리며: 이창동의 <밀양>과 고레에다 히로카즈의 <어느 가족> 읽기
강의혁 문학과영상학회 2019 문학과영상 Vol.20 No.3
This article comparatively examines the cinematic forms of Lee ChangDong’s Milyang and Kore-eda Hirokazu’s Shoplifters in an effort to grasp the ways in which the films respectively formalize the emerging organizational dynamics of family under the toxic pressure of the “myth” of modern model family. While the former’s formal experiment pivots on the dialectical narrativization of ShinAe’s “false consciousness” and at the same time of her resistance against the ideological oppression of patriarchy, the latter focalizes the incommensurability of a pseudo-family’s ethical aspiration and its undeniable economic motive that grounds its very formation. While both films employ documentary technique to carve out the alternative social dynamic that cannot be represented under the “normal” family structure and they refuse to be subsumed under the grammar of “genre movie,” they differ from each other in their utilization of the documentary element. For while the former’s documentary realism informs the constant continuity of inside/plot and outside/reality and thus highlights the permeability of the characters’ life and the spectators’ everyday life, the latter’s realism absolutizes the cinematic spaces that the characters occupy and thus demonstrates the undeniable reality of the spaces.