一部 美容業 從事者들의 織責別 腰痛 有病率과 關聯要因

김춘일,박종,류소연,김석산,김기순,하상호,변주남 조선대학교 부설 의학연구소 1999 The Medical Journal of Chosun University Vol.24 No.1

To find the prevalence and related factors of low back pain experienced by some beauticians. a survey was made toward 252 beauticians in Kwangju City from March 1st to April 1st, 1998. The results were as follows; 1. The prevalence rate of low back pain among the respondents for the last week was 59.5%. 2. The aid group and staff group with low back Pain had significantly longer duration of work than those without low back pain. Managers who had bad posture with twisted or too much extended back showed a significantly higher prevalence of low back pain than those with good posture during work(P<05). 3. Aid group with low back pain showed significantly higher points at total stress score, depression score, general health score and vitality score than those without low back Pain. The staff group with low back pain showed significantly higher points for total stress score, sleep disorder and anxiety score, depression score, general well-being and vitality score than those without low back pain. Managers with low back Pain showed significantly higher points of stress at social performance and self confidence (P<05) than those without low back pain. The above results suggest that low back pain is related to different jobs and work environments for beauticians. So effective measures and further studies against risk factors must be made considering their jobs. To prevent or reduce low back pain, appropriate management of stress for beauticians is necessary.

늑막삼출액을 동반한 다발성골수종 1예

김용화,주기산,서영환,조경상,김상도,정춘해 朝鮮大學校 附設 醫學硏究所 1992 The Medical Journal of Chosun University Vol.17 No.2

Pleural effusion in a patient with multiple myeloma due to plasma cell involvement of the pleura has been reported infrequently. We report a case of multiple myeloma with pleural involvement presenting bone pain and dyspnea in a 69-year-o1d woman. On the physical examination, the patient looked chronically ill with bedridden state. There was a palpable mass on the left posterior lower chest, firm but not tender and decreased breathing sound in the left lower lung. Laboratory finding revealed amemia, elevation of ESR, globulin, and calcium. X-ray of the chest showed pleural effusion in the left lower lung, and multiple pathologic fractures in the both ribs. X-ray of the skull, and pelvis revealed multiple punched-out osteolytic fractures in the both ribs. X-ray of the skull, and pelvis revealed multiple punched-out osteolytic lesion, and compression fracture in the lumber spine. Serum and urine electrophoresis revealed a M-spike. Serum and urine immunoelectrophoresis demonstrated an IgA-kappa monoclonal protein. Thoracentesis revealed serosanguinous fluid but not containing atypical plasma cells. Bone marrow examination showed 16.7% of immature plasma cells. With first cycle of melphalan, prednisone chemotherapy, improvement of pain and disappearance of pleural effusion was observed.

본태성 혈소판 증다증 2예

주기산,임현성,김미자,양태영,허경,김완중,박유환,정춘해 朝鮮大學校 附設 醫學硏究所 1993 The Medical Journal of Chosun University Vol.18 No.1

Essential thrombocythemia is a chronic myeloproliferative disorder of unknown origin, charcterized by excessive number of morphologically and functionally abnormal platelet in peripheral blood and abnormal proliferation of megakaryocytes in bone marrow. Its main clinical manifestations are hemorrhages and thromboses. The aim of therapy is suppression of the excessive bone marrow activity, which can be achieved by radioactive phosphorus, alkylating agent, hydroxyurea and interferon. Two cases were diagnosed at our hospital which had laboratory and clinical features compatible with this disease. We have successfully treated patient with hydroxyurea and platelet antiaggregating agent.

A Unified Model Combining Technology Readiness Acceptance Model and Technology Paradox Theory

Choon-San Kim,Sang-Bum Park 한국유통과학회 2017 The Journal of Industrial Distribution & Business( Vol.8 No.7

Purpose – There are common factors both in Technology Readiness and Acceptance Model and Technology Paradox Theory which can be put together and made in one unified model. The unified model can provide the following merits. First, the unified model is simple but contains factors of the models. Second, the unified model can clarify the process of technology acceptance of common consumers. Third, the unified model can provide the opportunities to analyze the negative sides of new technology, thus find ways to improve the level of acceptance by general consumers. Research design, data, and methodology – The 450 questionnaires were handed out to people around Seoul and 421 were collected. Except insincere and wrong-marked ones, 402 were used to analyze. SPSS program was used to analyze. Factor analysis, regression analysis was conducted to test the hypotheses. Results – By analyzing sub-factors of both models and binding the common factors in one category, we accomplish one model. And we tested the model by empirical method. The results show that the results from the unified model are almost same as the results from the two models. In other words, the unified model works. Conclusions – Explaining one state of affair by two different method is in some sense distracting attention. By devising a new model including factors of both models, we can explain the affair more straightforward and efficiently. At first the technology acceptance model was devised to explain the technology users in an organization and the following tests and revised models were for the similar purposes. However, as on-lone activities including contracts have been expanded and become important, consumers as the technology uses have emerged as first factor to consider. In accordance models to explain this situation has been suggested. The model suggested in this research is one of the models but it has the following merits. That is, it is simple but has strong explanation power, it can clarify the process of technology acceptance of common consumers by containing negative sides of consumer conception, and thus, it can provide the opportunities to analyze the negative sides of new technology, also find ways to improve the level of acceptance by general consumers.

신학적 미학과 그리스도교 예술

김산춘 ( San Choon Kim ) 한국미학예술학회 2008 美學·藝術學硏究 Vol.28 No.-

니사의 그레고리우스의 신비 사상 -에펙타시스와 에클레시아-

김산춘 ( Kim¸ San-choon ) 한국가톨릭철학회 2009 가톨릭철학 Vol.0 No.13

이 글은 카파도키아 교부 니사의 그레고리우스의 만년의 두 걸작 『모세의 생애』와 『아가 강화』를 통해, 그의 신비사상의 두 핵심어인 ‘에펙타시스’와 ‘에클레시아’의 개념을 추적하는 가운데 드러나는 인간의 자기 성립을 규명해본 것이다. 이를 위해서는 먼저 인간의 자연본성(physis)이 어떠한 것인가를 아는 것이 중요한데, 니사의 그레고리우스에게 있어서 인간의 자연본성은 고대 그리스적 사유와는 달리 완결된 것이 아니라, 히브리 그리스도교적 사유에서 보듯이 가변적인 것임이 확인된다. 그렇다면 이 가변적 자연본성은 어떻게 하느님을 향하여 변모해가는가? 니사의 그레고리우스는 특히 구약의 「아가」해석을 통해 영혼과 초월적인 신성과의 만남을 신랑을 그리워하며 찾아가는 신부의 모습, 사랑의 화살로 중상을 입은 신부의 모습으로 묘사하면서 비유적으로 해석하고 있다. 그 다음 무엇보다도 중요한 것은 탈자적 사랑의 지향을 의미하는 ‘에펙타시스’의 개념인데, 이는 신 인식이 정적인 그리스적 본질인식이 아니라, 역동적인 히브리 그리스도교적 청종(聽從) 즉 타자관계적 인식임을 말해준다. 그러므로 에펙타시스는 신비가들의 하느님과의 순간적 합일일 수는 없고, 어디까지나 그리스도인들의 일상적 삶의 방식으로서 끊임없는 전진이라는 데에 그 의의가 있다. 하느님은 무한하시므로 전진 또한 무한한 것이다. 니사의 그레고리우스에게 있어서 이러한 에펙타시스의 모범은 다름 아닌 모세의 생애였다. 마지막으로 니사의 그레고리우스에게 있어서, 에펙타시스라고 하는 초월에로 열린 역동성은 에클레시아라고 하는 다(多)이면서도 전체로서는 일(一)인 영적인 공동체의 형태로 이 유한한 세계에 구체화하며 생기한다. 즉 니사의 그레고리우스의 신비사상에서, 초월ㆍ개인ㆍ자기의 에펙타시스는 그 날줄이, 내재ㆍ보편ㆍ타자의 에클레시아는 그 씨줄이 되는 것이다. 이는 마치 타볼산에서의 거룩한 변모 사건을 연상시킨다. 산의 정상에 그대로 머물려는 제자들에게 예수는 세상으로 내려가길 권하는 것이다. 이 ‘세계와 타자에로의 귀환’이야말로 구체적 역사적 인간 안에서의 ‘존재의 현성(現成)’인바, 이로써 인간의 참다운 자기 성립이 이루어지는 것이다. Gregory of Nyssa (c.335-c.395) was designated by Maximus the Confessor as the Universal Doctor, and confirmed in his title as the Father of Fathers by the Second Council of Nicaea. John Scotus Eriugena, who was an expert in Greek thought, cited him as frequently as Augustine. Nevertheless, studies on Gregory of Nyssa made little progress. It is only since 1969 that an international conference has been held in every four years. As Hans Urs von Balthasar said, Gregory of Nyssa is less prolific than his master Origen, less cultivated than his friend Gregory of Nazianzus, and less practical than his brother Basil the Great. However, he outstrips them all in the profundity of his thought, for he knew better than anyone else how to transpose ideas from the spiritual heritage of ancient Greece into a Christian mode. This study seeks an understanding of the concepts of Epektasis and Ekklesia, which are at the heart of Gregory of Nyssa’s thought. It does so by studying especially two treatises from the period of his later thought, The Life of Moses and Commentary on the Song of Songs. Since there are no Korean translations of these Greek works, it resorted to Japanese translations by Tanī Ryuīchīro from Greek originals. And it faithfully appropriated his studies on the religious philosophy of Gregory of Nyssa. It is because they, together with Doī Kenjī's, go beyond the research results so far of the Western scholarship to the point of offering a new contribution. This study, then, will also be an introduction to Tanī's valuable interpretation of Gregory of Nyssa. The distinctive point of his studies is to conceive of Epektasis in an essential relation to Ekklesia, while previous studies merely dwell upon Epektasis alone. Miyamoto Hīsao, another leading scholar in studies of Gregory of Nyssa, conceives of Ekklesia in terms of ‘ekstatic coexistence’ or ‘cooperating body.’ For Gregory of Nyssa, Epektasis as a dynamism towards transcendence transpires in its concretization into this finite world, in the form of Ekklesia, which is a spiritual community of being ‘one as a whole and yet many.’ Thus, the fabric of Gregory of Nyssa’s religious philosophy has Epektasis (in conjunction with the notions of transcendence, individuality, and the self) as its warp, and Ekklesia (in conjunction with the notions of immanence, universality, and the other) as its woof. This reminds us of the event of the glorious transfiguration of Jesus at Mount Tabor. There, Jesus commands that his disciples, who want to remain at the top of the holy mountain, should go down to the world. Other important concepts follow from this essential thought of Gregory of Nyssa: ‘restoration of body and matter,’ ‘restoration of changeability,’ and ‘return to the world and the other.’

심포지엄 : 그리스도교 미학사상 ; 제2차 비잔틴 이코노클라즘과 동방신학

김산춘 ( San Choon Kim ) 한국미학예술학회 2004 美學·藝術學硏究 Vol.19 No.-

연구 논문 : 폴 틸리히, 예술의 신학

김산춘 ( San Choon Kim ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.32 No.-

문화신학자로 널리 알려진 폴 틸리히(Pau1 Tillich, 1886-1965)는 거의 40여 년에 걸친 그의 강의, 강연, 논문 등을 통해 종교와 예술의 상호관계에 대한 자신의 입장을 일관되게 표명하였다. 틸리히의 예술에 대한 개념은 다음과 같이 요약 할 수 있다. "예술은 궁극적 실재에 대한 한 개인의 체험의 표현이다." 그러나 정작 틸리히 자신은 자신의 글들을 모아 한권의 책으로 펴낸 적은 없다. 사후 Dillenberger의 편집에 의해 출판된『On Art and Architecture』(1987)만이 틸리히 의 예술의 신학의 정수를 시대 순으로 더듬어볼 수 있는 유일한 보고서이다. 필자는 무엇보다도 틸리히 자신의 목소리가 담긴 이 책을 중심으로 그의 예술의 신학을 주로 표현주의 회화론을 통해 살펴보고자 한다. 우리가 틸리히의 예술의 신학을 이해하기 위해 우선 검토해야 할 핵심적인 사항들은 다음과 같다. 첫째, 종교와 문화의 관계이다. 틸리히는 종교와 문화를 대립적인 것이 아니라 상호내재성을 가진 것으로 보았다. 우리는 이를 이른바 그 의 ``문화의 신학``안에서 살펴볼 것이다. 둘째, 그는 바로 그 문화의 신학을 설명하기 위해, 문화의 가장 전형적인 형태인 예술을 선택하는데, 여기서 예술은 표현주의적 양식의 예술을 가리킨다. 왜 틸리히는 철저하게 시종일관 표현주의 양식을 고수하였는가? 그것은 틸리히에게 표현주의라는 양식 그 자체가 종교적이었기 때 문이다. 셋째, 틸리히는 시각예술과는 좀 거리가 멀다고 할 프로테스탄티즘의 신학자이다. 그런 그가 논하는 프로테스탄트 예술이란 대관절 무엇을 말하는가? 틸리히가 지적하듯이, 프로테스탄티즘은 ``말``에 묶여있으며 시각예술과는 극히 의심스런 관계에 있었다. 그런데 그 자신은 정작 카톨릭으로 간주될 정도로 시각예술 에 대해 개인적인 애착을 보였다. 그러므로 이 글의 과제는 문화의 신학, 표현주의 양식 그리고 진정한 종교 적(프로테스탄트적) 예술이란 무엇인가를 밝히는 일이 될 것이다. 틸리히의 예술의 신학은 그의 문화의 신학의 한 전형이었다. 신학이 모든 존재자들 안에서 그리고 모든 존재자들을 통한 신적인 것의 현현에 관한 이야기 라면 예술의 신학은 가능하고, 그때 예술의 신학은 예술의 행위와 창조에 있어서 의 신적인 것의 현현에 관한 학설이 된다. 예술의 신학은 예술작품 안에서 궁극 적 실재의 현현을 인지할 수 있다는 것을 전제로 하며, 그 결과 결정적인 것은 예술이 종교적이 되기 위해서 꼭 종교적인 대상을 다루지 않아도 된다는 것이다. 궁극적인 의미와 존재의 체험이 표현적으로 주어진다면 세속 예술도 종교적일 수 있다. 궁극적 실재에 대한 체험이 표현된 모든 시대의 예술적 양식은 그 시대의 종교적 실존의 기록이다. 틸리히가 보기에 20세기의 위대함은 표현주의 원리의 발견, 즉 미화적 자연주의(beautifying naturalism)의 표층을 파괴하는 힘을 가지고 실재의 심층(the depth of realty)으로 돌파하는 원리의 재발견에 있었다. 그리고 거기서 오히려 그 는 세속적인 주제의 풍요로움 안에서 새로운 프로테스탄트적 종교적 예술의 가능성을 보았다. Paul Tillich(1886-1965) is well known as a theologian of culture. For almost 40 years, he expressed through lectures, speeches, and articles his consistent view on the interrelationship between religion and art. His essential conception of art is seen in the following statement: "Art is an expression of an individual`s experience of the ultimate reality." However, he himself did not collect his writings on art for a book.『On Art and Architecture』 (1987) is edited and published posthumously by Dillenberger. And it is the only material by which one can follow chronologically the essential ideas in Tillich`s theology of art. Focussing on the book, therefore, this article wants to consider his theology of art in general and his expressionist theory of painting in particular. For adequate understanding of Tillich`s theology of art, however, it is necessary to recognize the following points. First, Tillich sees that religion and culture are not contradictory but mutually indwelling. This article will elaborate on that point in relation to his so-called ``theology of culture.`` Second, in explicating his theology of culture Tillich chooses the most typical form of art in culture, that is, ``expressionistic style`` of art. It is because the expressionistic style itself for him is ``religious.`` Third, Tillich is a theologian of Protestantism that rather distances itself from visual arts. As he points out, Protestantism tied to ``words`` is suspicious of visual arts. But Tillich is personally attached to visual arts to the effect that he could be considered Catholic. This paper` s task is to make clear Tillich`s theology of culture, and his thoughts on expressionistic style and religious(Protestant) art. Tilhich`s theology of art is, in fact, a type of his theology of culture. If theology is a discourse on the manifestation of the divine in and through all beings, theology of art is possible and, in that case, it is a theory of the manifestation of the divine in the very act and creation of art. A theology of art presupposes that one is able to recognize the manifestation of the ultimate reality in artworks. As a result, - this is decisive-in order for art to be religious it needs not necessarily deal with specifically religious objects. A secular art can be religious if an expression is given to the experience of the ultimate meaning and being. Then, the art form of every age, in which experiences of the ultimate reality are expressed, is the record of the religious existence of the age. As Tillich sees it, the greatness of the 20th century lies in a discovery of the principle of expressionism, that is to say, a rediscovery of the principle of breakthrough into the depth reality by destroying the surface of beautifying naturalism. Therein, that is, in the abundance of secular subjects, Tillich sees rather the possibility of a new Protestant religious art.

천사학(天使學)과 단테의 천사상(天使像)

김산춘 ( San Choon Kim ) 한국미학예술학회 2007 美學·藝術學硏究 Vol.25 No.-

Angels symbolize the belief that there is indeed an invisible world in God`s creation which we cannot grasp with conventional vision. We can distinguish three approaches to world of the invisible. One is philosophical angelology which investigates the very existence of the invisible world. Theological angelology, on the other hand, begins with the belief that there is indeed world beyond our conventional vision. I look however to the Aesthetics of Angelology which depicts the invisible world through allegory in literature and visual art. Such Aesthetics already suggests that Ancient People were familiar with the world of the invisible, and thus could represent it in visual art. With modernity, people came to depend on empirical examination, and skepticism about the invisible world. Insensitive to the realm of the invisible, modernity led to superficiality. This is critical even in the realm of self-knowledge where people have become reluctant to examine their invisible selves. I investigated the Christian tradition of angelology, especially the writings of the Fathers of the Early Church. For the Fathers, the mission of the angels was the salvation of human beings. For instance, Dionysius Areopagita wrote that the angels worked to help humankind to be like God in ceaseless love and wisdom. Much later, we find angels as a model of sanctity. For instance, St. Francis is described as a seraphim in love, and St. Dominic became like the cherubim in wisdom. This reflects sensitivity to an invisible world in an earlier literature and visual art.

한국미학예술학회 20주년 기념 심포지엄: 미학,예술학과 지금 여기 : 미학,예술학과 인접 학문 ; 뵈메의 새로운 미학: 분위기와 감각학

김산춘 ( San Choon Kim ) 한국미학예술학회 2009 美學·藝術學硏究 Vol.30 No.-