형성기 한국 근대문학의 비교문학적 연구

이혜순,이혜순,이혜순,이혜순 한국비교문학회 1987 比較文學 Vol.12 No.-

청소년의 자아분화 수준 및 가족기능이 정신건강에 미치는 영향

이혜순 한국아동간호학회 2010 Child Health Nursing Research Vol.16 No.4

본 연구는 청소년 967명을 대상으로 자아분화, 가족기능, 정신건강 간의 관계와 정신건강에 미치는 주요 영향 요인을 조사하기 위한 서술적 상관관계연구이다. 자아분화 수준은 고등학생이 중학생보다 높으며, 부모와 함께 생활하는 형태가 친척집에서 생활하는 경우보다 높은 것으로 나타났다. 부모 교육 수준이 낮을수록, 부가 무직인 경우 낮은 것으로 나타났다. 가족기능은 부모와 함께 생활하는 형태가 부와 생활하는 경우보다 높으며, 부모 교육 수준이 낮을수록, 부 직업이 무직인경우 낮은 것으로 나타났다. 정신건강은 고등학생이 중학생보다 나쁜 것으로 나타났고,출생순위에서는 외동이 가장 나쁜 것으로 나타났고, 부모의 교육수준이 낮을수록 나쁜 것으로 나타났다. 정신건강과 자아분화 및 가족기능 간의 상관관계 분석 결과 자아분화와 가족기능이 낮을수록 정신건강 상태가 나쁜 것으로 나타났으며, 청소년의 정신건강을 설명하는 변수는 자아분화의 하위영역인 인지∙정서적 기능, 정서적 단절, 가족투사, 학년, 가족기능의 하위영역인 정서적 반응, 출생순위 즉 6가지 변수가 정신건강에 영향을 주는 유의한 요인으로 확인되었다. 결론적으로 본 연구는 청소년기에 간과되고 있는 정신건강수준을 측정하고 정신건강 관련 요인으로 자아분화 및 가족기능과 같은 가족환경 요인의 역할을 실증적으로 확인하였다는302 이혜순J Korean Acad Child Health Nurs 16(4), 2010년 10월점에서 의의를 찾을 수 있다. 따라서 청소년기의 발달적 맥락에서 중요한 개념인 자아분화, 가족기능과 정신건강과의 관련성을 확인한 본 연구결과에 근거하여 청소년기 정신건강 문제에대한 예방과 관리를 위한 간호 중재프로그램의 개발이 필요하며, 중재프로그램을 실시할 때 가족에 대한 개입도 함께 이루어져야 함을 시사하고 있다. 본 연구는 정신건강에 영향을 미치는 주요변인으로 자아분화 및 가족기능과 같은 환경적 변인을 다루었는데, 추후연구에서는 청소년 자신의 개인적인 성향이나 기질 등의 요인들을 포함한 연구를 시도해 볼 것을 제언하며, 청소년의 정신건강 문제를 예방하기 위해 정신건강 유발 예측변인들을 찾기 위한 후속연구가 필요함을 제언한다.

포스타 전시 발표 : 감염, 알레르기, 류마티스 ; Red Ear Syndrome이 동반된 소아 신경정신 루푸스 1예

이혜순,배상철,엄완식,김태환,전재범,정성수,이인홍,유대현,김성윤 대한내과학회 1999 대한내과학회 추계학술대회 Vol.57 No.-

포스타 전시 발표 : 감염, 알레르기, 류마티스 ; 고용량의 면역 글로불린 주사 치료로 호전된 골수섬유증과 살모넬라 그룹 D 균혈증을 동반한 전신성 홍반성 루푸스 1예

이혜순,배상철,윤형란,이지현,김태환,전재범,정성수,이인홍,유대현,이웅수,김성윤 대한내과학회 1999 대한내과학회 추계학술대회 Vol.57 No.-

牧隱 李穡의 題畵詩 試考

李慧淳 이화여자대학교 한국문화연구원 1987 韓國文化硏究院 論叢 Vol.52 No.-

It has been generally proved that literature and painting have much in common despite the difference in their media and techniques, and there are some significant parallels as well as direct influences between them; hence the approach to literature through painting may be one of the very useful methods to elucidate its structure and meaning. In Oriental cultures using Chinese characters, poets were usually multiple talents who were skilled both in paintings and in calligraphy. One of the literary models achieved by these multiple talents was "Poems Written on Paintings" (chewhasi 題畵詩). Chewhasi appeared for the first time in the middle of the Koryo dynasty when the enthusiasm for Su Tung-p'o was wide-spread among literary men. But writing chewhasi on a full scale seems to have some connections with literature of Yuan China, because chewhasi was mostly written by those who either had chances to stay in Yuan China or passed the official examination given by the Yuan government like Li Che-hyun(李齊賢), Li Kok(李穀), An Chuk(安軸), and Li Saek(李穡). Li Saek left a total of 21 pieces of chewhasi, half of which were written on mountain-river paintings, but it is unknown whether he was also good at painting. His chewhasi seems to be written down directly on the picture. One of the most peculiar characteristics of Li Saek's poems written on mountain-river paintings is to identify paintings with real landscapes. Thus the reader of Li Saek's chewhasi can hardly tell whether the poet composed his chewhasi with the experience of his actual observation of real landscapes or just with his experience of looking at others' paintings. This is very much different from Yuan poets' attitude toward paintings. In most cases they show a complete detachment from the landscape depicted in paintings in the phrase meaning "I see the painting". There is another type of poem written on mountain-river paintings concerning the life of a hermit. Li Saek did not care to distinguish between a real landscape and an imaginative one in the paintings, and he even expressed his wish to visit the hermit. In contrast, Yuan poets always seem to have kept some distance between themselves and the hermit. Li Saek has his own perspective in apprehending the atmosphere of a picture. He does not present the composition of the painting visually. In general, he does not depend on sensuous perception. His poems written on mountain-river paintings are not pictorial in their description but give us an impression that he was simply reconstructing his intuition for the painting. In this regard it is no wonder Li Saek shows a tendency to be favor of abstractions rather than concrete expressions such as 'vast', 'boundless', 'vague', and of sunset, darkness as time background. Such description can hardly be considered visually immediate. In actually he regards auditory expressions more highly than close objective resemblance. The characteristics of Li Saek's chewhasi, which emerged clearly through the present comparative study with Yuan chewhasi, appear to be very closely bound up with his conception of nature and art: what concerned him most was not the visual world, whether it was real or imitated but the unchanging world represented as wind, river and pine tree. This attitude toward nature and art may be related to the thought of zen which he got acquainted with by his intimate association with zen buddists. It is clear that both his chewhasi and nature poems are filled with symbolic substance. Such a concept might be applied to the later chewhasi, since there was no sign of pictorial expression from either the nature poems or chewhasi in the early period of the Chosun dynasty. It might be safely concluded that there are some influences from Yuan in the appearance of chewhasi, but the objects and mode of descriptions respectively went their own way.

韓國樂府硏究(I)

李慧淳 이화여자대학교 한국문화연구원 1981 韓國文化硏究院 論叢 Vol.39 No.-

The aim of this paper lies in studying the formal and thematic characteristics and the significance in literary history of five author's Korean Music Bureau Poems-Kim Jongjik's Tongdokbu, Sim Kwange's Yungnamakbu. The music Bureau was established by Emperor Wu of the Han Dynasty, China. Its primary function was to provide music and songs for ceremonial occasions at court. These ranged from temple hymns and sacrificial odes to chamber music and songs for feasting and dancing, Mostly eulogistic in nature, they comprise praises of imperial virtue and invocations for blessings from spirits and gods. But most important for posterity is a group of folksong collected by musicians of the Bureau, which dealt with the common themes of life - love and separation, poverty and war. The music of these songs with gradually lost toward the end of Han Dynasty. The time when the Music Bureau poems were transmitted to Korea remains unknown, but "minor Music Bureau Poems" written by Lee Jaihyun could be considered the earliest and most primitive from, although it was written in the style of modern poetry. The writing of the poems with the fundamental form began from Kim Jongjik, and since that time, especially in the middle of Yi Dynasty, a large bulk of Bureau poems has been produced. Characteristically, these poems, with no music, have lines of varying length from two or three to seven and more words; the rhyming scheme is very flexible. The poems above all took their subject matter from the folk tradition and history of Korea. But the subject matter was patterned, and reshaped, and ultimately transformed into pieces of literature.

이성복 시에 나타난 멜랑콜리의 정치성 연구 ― ‘유곽’과 ‘돌’ 이미지의 변모 양상을 중심으로

이혜순 국제한인문학회 2021 국제한인문학연구 Vol.- No.30

이 논문은 이성복이 1970년 후반부터 1980년대 초 ‘유곽’에 집중하면서 현재의 비판적 관계 속에서 ‘유곽’을 재구성하고 있다고 보고 그 유곽의 의미를 밝혀내고자 하였다. 벤야민이 유토피아적 잠재성 개념을 설명하면서, 현재를 깨어있는 세계로 경험하는 데까지 나아가야 함을 강조하였다면, 이성복의 텍스트들이 가진 ‘치욕’으로 표상되는 현실의 부조리함과 근대의 표상들은 각성으로 나아가고자 하는 그의 인식에서 출발하였다고 보았다. 또한, 이성복 텍스트의 ‘돌’ 이미지에는 개인이나 가족의 멜랑콜리가 나타나는데, 돌의 발화에는 ‘자기 몫을 찾기를 촉구하는 목소리’ 혹은 ‘자기 몫이 으스러저 서러워하는 목소리’가 발화되어 있는데, 이는 정치에 직접 참여한 목소리가 아니라 문학을 통한 정치성을 담보한 표현이다. 또한 ‘조각’은 사회적 문제들을 대유한 소재로 볼 수 있는데, 이때 ‘조각’ 이미지는 이성복 시의 ‘유곽’에 대응하는 이미지이며, 이 ‘조각’ 이미지에서 사회적 문제의 치욕에 대하여 분노를 폭발시키고 있다. 이성복이 유곽을 말할 때, 세속적인 이미지를 나타내고 있는데, 벤야민의 기억의 정치성 이론을 참고하면 이성복 텍스트에서 ‘유곽’이미지는 세속적인 동시에 신학적이며 정치적인 이미지를 함축한다고 할 수 있다. 요컨대, 이성복 텍스트에서 유곽이 갖는 의미는 과거의 치욕을 잊지 않기 위한 기억의 정치성으로 ‘돌’의 이미지에 드러난 의미는 소외자들의 정치적 물음으로 ‘조각’ 이미지는 ‘유곽’에 대응되는 이미지로 해석하였다. The purpose of this paper is to find out the meaning of “Yu Gwak” (licensed prostitute quarters) as Lee Seong-bok concentrated on “Yu Gwak” from the late 1970s to the early 1980s and reconstructed “Yu Gwak” in the current critical relationship. Whereas Benjamin emphasized the need to experience the present as a waking world, explaining the concept of utopian potential, the absurdity and modern representations of Lee Sung-bok’s texts began with his perception of moving toward awakening. In addition, the “stone” image in Lee Sung-bok’s texts shows melancholy of an individual or family, in which “voices urging to find their share” or “voices crumblingly grieving about their share” are expressed, not directly participating in politics, but securing its politicality through literature. “Sculpture” can also be seen as a subject of social problems, in which the image of “sculpture” is a response to Lee Sung-bok’s “Yu Gwak” and in this ‘scupture’ image, anger is exploding over the disgrace of social problems. When Lee Seong-bok speaks of Confucianism, he presents a secular image. However, referring to Benjamin’s theory of politicality, the image of Confucianism in his texts implies both secular and theological and political images. In short, the meaning of glaze in the text of Lee Seong-bok was interpreted as a political response to the political question of the marginalized as the political meaning of the memory not to forget the disgrace of the past.

보육교사의 전문성 인식과 직무만족도가 영유아 권리존중 보육실행에 미치는 영향

이혜순,이소은 한국아동학회 2020 한국아동학회 학술발표논문집 Vol.2020 No.11

간호사의 VDT 증후군 및 관련요인에 관한 연구

이혜순,김남희 사단법인 인문사회과학기술융합학회 2016 예술인문사회융합멀티미디어논문지 Vol.6 No.12

The purpose of this study examined VDT syndrome and related factors. The subjects of this study were nurses who at general hospital in city B and Gyeongsangnam-do. The data were collected from 236 hospital nurses, who had experience of VDT work. The collected data were analyzed by frequency, percentage, mean and standard deviation, t-test, ANOVA using the SPSS/WIN 20.0 program. The mean scores for musculoskeletal symptoms, eye related symptoms, skin related symptoms, and psychological related symptoms were 2.32±.63, 1.90±.74, 1.37±.89, 1.60±.84 respectively. Subjects’ socio-demographics were significant difference according to religion, working department, position. Work-related characteristics were significant difference according to break during work, health status, job satisfaction, VDT work time per day, hours of computer use outside of work hours. In conclusion, there is a need to develop a nursing intervention program to decrease VDT syndrome considering break during work, health status, job satisfaction, VDT work time per day, hours of computer use outside of work hours. 본 연구는 간호사의 VDT증후군 정도 및 관련요인을 파악하고자 시도된 서술적 조사 연구로 연구의 대상자는 부산·경남에 소재하는 종합병원에서 근무하는 간호사 236명이었다. 자료 수집 기간은 2014년 5월 1일부터 7월 31일까지였으며, 연구도구는 문재동, 이민철과 김병우(1991)가 개발한 VDT 자각증상 측정도구로 근골격계 증상, 안관련 증상, 피부관련 증상, 심리관련 증상, 전신관련 증상으로 구성된 것을 사용하였다. 자료 분석은 SPSS/WIN 22.0 프로그램을 이용하여 실수, 백분율, 평균과 표준편차, t-test, One-way ANOVA, 사후검증은 Scheffe′test를 실시하였다. 일반적 특성 및 VDT작업 특성에 따른 VDT증후군 차이는 근무 중 휴식, 건강상태, 업무 만족도, 1일 평균 컴퓨터 작업시간에서 유의한 차이가 있었다. VDT증후군 정도를 분석한 결과 4점 만점에 평균평점 1.79±.77점으로 나타났으며, 하위영역으로 근골격계 증상 2.32±.63점, 안관련 증상 1.90±.74점, 피부관련 증상 1.37±.89점, 심리관련 증상 1.60±.77점, 전신관련 증상 1.76±.84점으로 나타났다. 결론적으로 종합병원에서 근무하고 있는 간호사의 VDT증후군 관련 요인을 찾은 것에서 큰 의의가 있다고 볼 수 있다.

허수경 시에 나타난 ‘슬픔’의 전개 양상 연구 - 『슬픔만한 거름이 어디 있으랴』를 중심으로

이혜순 국제한인문학회 2019 국제한인문학연구 Vol.- No.25

This paper tried to analyze the aspect of sorrow in 'Human Kyung's first poem,' Where is the sadness of manure? ', Divided into' individual ',' history ', and' community ', and to consider its meaning. Sorrow's personal sorrow incidents are characterized by the emergence of the poetic self, who “blooms” or “active loves” by filtering “sorrows” rather than the melancholy or sad tone. Here, 'There is a special feature that the subjects of sad personal history embrace the subject. Melancholy traits are uttered when narrating historical sorrow, which is expressed as “resistance,” which can be inferred from the past time of Benjamin's history. Looking directly at the time of Jetztzeit at this time, Hur recalls the spirit of the times of the present, reflecting on the past. We can infer that past events meet here now and wish to be illuminated by new events and shine like flashes. Subordinate subjects of the poet, Suh Kyung-kyung, are keenly aware of the sadness of double restraint and express their willingness to decolonize. In addition, 'Sorrow' in Hur's poems includes the pursuit of the trajectory of community life called 'us'. This is not a melancholy manifestation of mourning or a pathological loss of a lost object, but the possibility of a communal life working together in a field. The community shown in the poetship can be divided into a family community and a village community. While it shows the clearing of history through the family community, it shows the willingness to move toward creative symbiosis through the village community. He shares his poems before German immigration and after studying in Germany. His first collection of poems is characterized by many subjective statements and subjects' utterances. It is unique in that it covers a wider variety of topics. While Far Away Home Alone devotes a lot of space to individual sorrows, Where is the Sorrowful Manure? After my study in Germany, “My Soul Is Old” contains a great deal of poetry that reminds me of the past. The sorrow of the historical point of view in "Where is there sadness of manure?" Is also manifested in "My soul is old," but it is characterized by a meditation, contemplative and speculative speaker rather than a passionate and active speaker. In this paper, I commented on the world that Imagine has been struggling since I lived in Germany, that is, the problem of war and how I embraced Diaspora in trying to communicate with the alienated people. In this paper, "Sorrowful Manure" outlines the pearl community, the history issue, and the inclusion of personal lyricism as a point of ignition for the Diaspora perspective. Since he lived in Germany, he dreamed of a diaspora perspective by distributing a can of beer and bread to beggars he met at a train station, or by sharing time with multi-ethnic people at a share house. Thus, a careful analysis of Where Sorrowful Manure is, was judged to be worth understanding his footsteps. In this thesis, the meaning of 'sorrow' in the way he wants to walk is the man's first poetry of Where the Sorrowful Manure is, and the sorrow becomes the man's resistance and the suffering of the subject. It meant the inclusion of an inflexible life and interpreted it as the desire to embrace the world even if such aspirations were not fulfilled. Gayatri Spibak says that Subordinates can't speak but never should ignite in `` Suverton Can Speak, '' but Suh Kyung-kyung is a woman who suffers the violence of the lives and wars of women, the rural sub-subjects of Jinju. Share sadness with those who read poetry by recreating their lives concretely and vividly. This can be said to share a sense of solidarity, which secures politics by calling on the past and enjoying the time here and bringing the sympathy of our community. Even though the sorrow is sullen and disgraceful, this poetry paradoxes that we must move forward with the sorrow.