임부의 백일해 예방접종에 영향을 미치는 요인

이소영 남부대학교 일반대학원 2024 국내석사

임부의 백일해 예방접종에 영향을 미치는 요인 이소영 지도교수 : 박미경 남부대학교 대학원 간호학과 본 연구는 임부를 대상으로 백일해 예방접종에 영향을 미치는 요인을 확인하고 자 시도되었다. 연구대상자는 G광역시에 소재한 산부인과 전문병원 4곳에 내원한 임부 136명이었다. 자료수집은 구조화된 설문지를 활용하여 2023년 6월 15일부터 7 월 15일까지 실시되었다. 연구 측정 도구로 백일해 지식은 김수미(2008)가 개발했던 도구를 수정하여 사용하였다. 백일해 예방접종의도는 신연이(2020)가 개발했던 도구 를 대상자만 수정하여 사용하였다. 수집된 자료는 SPSS/WIN 26.0 program을 이용 하여 hierarchical logistic regression analysis로 분석되었다. 본 연구의 결과는 다음과 같다. 가. 연구대상자 136명의 일반적 특성을 살펴본 결과, 연령은 평균 32.5세였으며 30- 34세가 71명(52.2%)이었고 학력은 104명(76.5%)이 대학 졸업 이상자로 나타났 다. 임부 중 임신 27주 이상자가 99명(73.3%)이었으며, 코로나 예방 접종자는 1 25명(91.9%)이었다. 임신 경험이 있는 대상자 114명 중 이전 임신 시 백일해 예 방 접종자는 41명(36.0%)이었고 백일해 정보습득원은 병원이 60명(44.1%)이었다. 나. 대상자의 백일해 관련 지식, 건강신념 및 예방접종의도 정도를 살펴본 결과, 대상자의 백일해 지식 평균은 7.48±1.31점이었다. 백일해 관련 건강신념 평균 은 59.14±7.84점이었다. 건강신념 하위영역 점수로 백일해에 대한 지각된 민감 성은 13.30±2.67점, 지각된 심각성은 13.12±3.65점, 백일해 예방접종에 대한 지 각된 유익성은 17.63±3.81점, 지각된 장애성은 15.09±3.64점으로 나타났다. 백 일해 예방접종의도의 평균은 18.76±3.12점으로 나타났다. 다. 일반적 특성에 따른 백일해 예방접종 여부의 차이를 살펴본 결과, 임신 20주 이 상-27주 미만자보다 임신 27주 이상자가 예방접종을 더 많이 하였다(χ2=29.31, p <.001). 임신 경험자 114명 중 이번 임신 시 백일해 예방 접종자가 미접종자보다 많았다 (χ2=13.34, p=.001). 백일해 예방접종에 대한 정보습득원은 경로가 있었던 자가 없었던 자보다 많았고 통계적으로 유의하였다(χ2=18.11, p=.001). 라. 백일해 관련 지식, 건강신념 및 백일해 예방접종의도에 따른 백일해 예방접종 여부의 차이를 살펴본 결과, 백일해 지식은 지식점수가 낮은 자보다 높은 자가 예방접종을 더 많이 하였다(t=-3.53, p=.001). 백일해 관련 건강신념 하위영역 으로 백일해 예방접종에 대한 장애성이 낮다고 지각한 자가 높다고 지각한 자보다 예방접종을 더 많이 하였다(t=1.98, p=.049). 백일해 예방접종의도에서는 의도 점수가 낮은 자보다 높은 자에서 예방접종을 더 많이 하였다(t=-3.70, p<. 001). 마. 백일해 관련 지식, 건강신념 및 백일해 예방접종의도 간의 상관관계를 살펴본 결과 백일해 지식은 백일해 예방접종의도와 양의 상관성이 있었고(r=.66, p<.001), 백일 해 관련 건강신념 중 지각된 심각성은 지각된 유익성과 양의 상관성(r=.38, p<.001) 이 있었으며, 지각된 유익성은 백일해 예방접종의도와 양의 상관성(r=.29, p=.001), 지각된 장애성은 백일해 예방접종의도와 음의 상관성(r=-.29, p=.001)이 있는 것 으로 나타났다. 즉 백일해 관련 지식과 건강신념 및 백일해 예방접종의도는 서로 상관성은 있지만 다중공선성은 없는 것으로 확인되었다. 바. 임부의 백일해 예방접종에 영향을 미치는 요인을 살펴본 결과, 모형 1에서 임 신주수 중 임신 27주 이상인 경우(OR=46.52, 95% CI=5.489-394.261), 병원((OR =18.80, 95% CI=2.161-163.579), 가족이나 친구(OR=29.41, 95% CI=2.363–366.0 54)로부터 임부가 백일해 예방접종 정보를 습득한 경우 예방접종 확률이 높은 것으로 나타났으며 설명력은 44.1%였다. 모형 2에서는 임신주수 중 임신 27주 이상인 경우(OR=80.65, 95% CI=7.259-896.169), 병원(OR=14.81, 95% CI=1.491- 147.172), 가족이나 친구(OR=75.09, 95% CI=4.440-1269.846)를 통해 정보를 습득 한 경우, 백일해 지식점수가 높을 경우(OR=1.63, 95% CI=1.090-2.428), 백일해 관련 건강신념 중 백일해에 대한 심각성 점수가 높을 경우(OR=1.17, 95% CI=1. 004–1.375) 예방접종 확률이 높아졌으며, 백일해 예방접종의도 점수가 높을 경 우(OR=1.32 95% CI=1.075-1.618) 예방접종 확률이 높아졌으며 통계적으로 유의 한 차이를 보여 영향요인으로 확인되었다. 모형 2의 설명력은 56.2%였다. 본 연구결과에서 임부는 임신 27주 이후에 대부분 예방접종을 하였고, 백일해 예 방접종에 대한 정보를 병원이나 가족, 친지로 부터 듣는 경우, 백일해 지식수준이 높 은 경우, 백일해에 대한 심각성을 높게 지각한 경우, 백일해 예방접종의도가 높은 경 우에 백일해 예방접종을 할 확률이 높아진다는 것을 확인하였다. 이에 임신 중 백일해 예방접종을 하도록 유도하기 위해서는 임신 2기 후반 또는 임신 3기 초반기에 임부를 대상으로 백일해 관련 지식과 백일해 감염에 의한 신생아 건강의 유해성과 심각성을 교육하여 임부의 백일해 예방접종의도를 높여야 한다고 제언한다. 주요용어: 임부, 백일해, 지식, 건강신념, 예방접종의도

다중적 가능세계를 구현하는 카오스모스 공간에 대한 연구 : 연구자의 작품을 중심으로

이소영 국민대학교 대학원 2014 국내박사

본 논문의 출발은 부분과 전체의 관점에 대한 논의이다. 부분과 전체에 관한 고찰은 환원주의적 세계관이 말하는 전체, 즉 부분의 합이 전체라고 여기는 바와 같은 단순 총합이 아니다. 부분들 간의 복합적인 상호작용에 의해 역동성을 발휘하는 전체, 즉 부분들의 관계망이 조직화하는 양상에 의거해 질적으로 탈바꿈의 계기를 마련하는 다양체를 의미한다. 그러므로 부분과 전체는 불확정적이고 비결정적인 속성을 지니며, 전체는 부분에 의거하지만 환원해 되돌릴 수는 없다. 이성의 빛에 의해 증대되었던 지식은 세계를 닫힌 체계로 봄으로써 실재가 운영되는 법칙에 많은 부분 손상을 가져왔다. 반성과 자각은 이제 우리의 관심을 정보교환이나 진화로부터 사회와 역사, 문화에 이르기 까지 열린 시스템에 관한 것으로 이동시키고 있다. 또한 20세기 초 양자물리학의 발전은 자기조직화 이론, 카오스 및 복잡계 이론을 등장시키며 우리를 새로운 패러다임으로 안내하고 있다. 이러한 현상은 존재론적 본질을 규명하고자 하는 예술적 시도에 있어서 새로운 방법론을 제시한다. 바로 예술, 철학, 심리학, 물리학, 생물학 등 서로 다른 분야들을 관통하고 가르지르며 사유와 실험을 확장시키고자 하는 태도의 발생이다. 비평형상태가 임계점에 이르면 예측 불가능한 창발현상이 출현한다. 무질서와 혼돈의 가장자리인 카오스모스는 정교한 질서를 담지하는 경계선이다. 연구자의 작품인 초복합적 디지털 생성 공간은 일련의 열려진 계로서 가능성이 창발하는 장이다. 생성된 이미지는 존재들의 횡단적 움직임의 기록이며 서로 충돌하고 뒤섞이며 이질적 접합으로 생성-변성된다. 그 과정은 무수한 차이들의 분기이며 새로운 질적 차원의 다(多)로 창발하는 지속의 한 단면이다. 이러한 접속으로부터 시공을 초월하여 가상과 현실의 경계를 넘나드는 서사가 형성된다. 주요어휘 : 카오스모스, 가능세계, 접힘, 펼쳐짐, 디지털, 생성, 잠재

Improved Method for Rapid and Simultaneous Detection of Food-borne Pathogens by PCR based on Filtration and Immunomagnetic Separation in Fresh-cut apple

이소영 국민대학교 일반대학원 2021 국내석사

Conventional culture-based methods have typically been used for detecting pathogens, but they are time-consuming due to the long enrichment time, incubation time, and biochemical assay for confirmation. To reach the limit of detection, even rapid detection methods such as polymerase chain reaction (PCR) require a culture enrichment time to reach the limit of detection to detect a low level of food-borne pathogens. Foods are known to contain numerous PCR inhibitors and can inhibit DNA amplification or the production of a fluorescent signal. Therefore, for the rapid detection of food-borne pathogens from foods, some pretreatment method is required prior to PCR to remove PCR inhibitors. The developed method in this study, a method was developed to effectively remove PCR inhibitors, which enabled the rapid, simultaneous, and sensitive detection of food-borne pathogens. The sensitivities of Escherichia coli O157:H7 and Salmonella Typhimurium in fresh-cut apple were respectively 101 CFU/g and 100 CFU/g. The pretreatment method including separation and concentration procedures increased the sensitivity by 10‒100-fold. In conclusion, this method could be used for rapidly detecting pathogens borne in foods such as fresh-cut fruit containing various PCR inhibitors. 일반적으로 기존의 배지 배양 방법은 식중독균을 검출하는데 사용된다. 하지만 증균배양 및 확인을 위한 생화학적 분석 과정이 요구되어 노동 집약적이고 시간이 많이 걸린다. PCR과 같은 신속검출 방법조차도 식품에 낮은 농도로 존재하는 식중독균의 검출을 위해서는 증균배양 과정이 필수적이다. 또한 식품에 존재하는 다양한 PCR 억제제는 DNA 증폭 혹은 형광 신호 생성을 억제하는 것으로 알려져 있다. 따라서 증균배양없이 균을 농축하고 PCR 억제제를 제거하기 위한 전처리 과정이 필요하다. 이 연구에서 여과와 면역 자기 분리를 이용하여 식중독균을 농축하고 PCR 억제제를 효과적으로 제거여 신속하고 민감하게 두 종의 식중독균을 동시에 검출하는 방법을 개발하였다. 절단 사과에서 E. coli O157: H7 및 S. Typhimurium의 민감도는 각각 101 CFU/g and 100 CFU/g이었으며 기존 검출법에 비하여 민감도가 10-100배 증가되었다. 결론적으로, 이 개선된 방법은 다양한 PCR 억제제를 가지는 식품에서 식중독균을 신속하고 민감하게 검출할 것으로 판단된다.

근자외선 대역에서 파장변화에 안정한 시준렌즈 설계

이소영 청주대학교 2017 국내석사

특정한 파장대역에서 파장변화에 따른 굴절능의 변화를 1차, 2차 미분까지 보정하여 기준파장과 그 인근 파장 대역에서 굴절능의 변화가 매우 적도록 안정화된 광학계를 설계하는 방법에 대하여 연구하고, 이를 적용하여 회절한계의 시준렌즈를 설계하였다. 설계된 광학계는 파장변화에 대하여 매우 안정하였고, 파장 360 nm ~ 410 nm 대역에서 유효초점거리의 변화가 0.002% 이내로 매우 적었다. To minimize chromatic variations in a wavelength band, we suggest a new design method which corrects the first and second order wavelength derivative of refractive power. Based on the method, a diffraction limited collimator was designed. The design is very stable against wavelength change as we expected. The chromatic change of effective focal length is less than 0.002% in a wavelength range from 360 nm to 410 nm.

Coulometric Coating of Adsorbent for In-Needle Microextraction Device and Its Characterization : Analysis of Phthalates in Aqueous Media by GC/MS

이소영 서울여자대학교 일반대학원 2017 국내석사

In this study, we fabricated a new multi-walled carbon nanotubes / polyaniline (MWCNT/PANI) composite on stainless steel wire by coulometric technique for headspace in-needle microextraction (HS-INME). Then it was placed into a stainless steel needle inside. This HS-INME device was applied for the determination of phthalates dissolved in aqueous solution measuring by gas chromatography-mass spectrometry (GC-MS). Parameters of coulometric coating conditions were optimized. MWCNT/PANI composite film of 10 mm length was well electrochemically polymerized on the surface of stainless steel wire when constant potential of 2.0 V was applied during 500 s. Atomic force microscopy (AFM) and auger electron spectroscopy (AES) showed that polymerization on the surface of wire had homogeneous and constant coating thickness of 1.5 μm ± 0.004 μm SD. The optimum molar ratio of MWCNT and aniline (C:N) for polymerization was found to be at 1: 2 molar ratio. The optimum conditions of HS-INME were extraction temp.; 50oC, saturation time; 60 min, extraction time; 30 min, desorption temp.; 230oC, and desorption time; 3 min, respectively. Validation of HS-INME-MWCNT/PANI coupled with GC/MS was also performed including limit of detection (LOD), limit of quantitation (LOQ), dynamic range, recovery, and reproducibility. The proposed device is found to be inexpensive, easy, and rapid to fabricate and could be utilized effectively as the solventless microextraction method for phthalate analysis.

생체적합성 천연고분자로 코팅된 PVA 나노섬유 구조체의 제조 및 특성 분석

이소영 忠南大學校 大學院 2009 국내석사

일부 농촌지역 주민들의 부부간 고혈압 위험요인의 일치성

이소영 충남대학교 대학원 2008 국내석사

This study conducted to find concordance of hypertension in older couples. For these purposes, the researcher conducted surveys of 297 couples residents in a rural area, Geumsan-gun, Chungcheongnam-do during January and February 2006. The results were the followings: 1. Risk factors differed from between couples were smoking, alcohol drinking, triglyceride that were higher in men; stress and LDL higher in women 2. Wife's risk factors of hypertension related to husband's risk of hypertension were metabolic syndrome (OR=2.879) and current alcohol drinking (OR=1.892). 3. Husband's risk factors of hypertension related to wife's risk of hypertension were age (OR=1.037), Obesity (OR=1.922), metabolic syndrome (OR=4.100), and triglyceride (OR=1.793). 4. Age, body mass index, metabolic syndrome, irregular diet were important risk factors affecting hypertension of older couples after adjusted other factors. Conclusively, important risk factors affecting hypertension of couples living in a rural area were age, metabolic syndrome, and body mass index. It needs to care these factors closely.

일제강점기 신민요의 혼종성 연구

이소영 韓國學中央硏究院 2007 국내박사

Sinminyo (new folk song) sin, meaning "new" and minyo, meaning "folk song" had been one of the mainstream popular music genres during the Japanese colonial period. Within a socio-musical context, "sin" denotes the western popular music and its style and idiom introduced by Japan at the turn of the century, while "minyo" represents the indigenous Korean folk song with all its traditional musical elements and practices. By combining and fusing the two musical traditions, sinminyo emerged as a "hybrid music" in the early 1930s. This study investigates sinminyo and its hybrid characteristics in its meaning and content, as understood as a hybridized musical product of both traditional music and foreign music. Within the broad scope of the study, I have presented both hybrid musical idioms found in various repertoires, as well as a socio-musical approach in examining the musical activities in relation to the music-making process. First, to provide abroad overview of the historical background in regard to sinminyo's emergence as a new genre, I examined the musical activities and practices of various hybrid musical genres, centering on the newly emerging entertainment industry, especially the recording industry. The hybrid musical activities that were reflected in many of the recordings found in the mid 1920s can be divided into two large categories in terms of differentiating musical and stylistic output. First, one category reflects the tendency toward the appropriation of the foreign music, "Hyangakhwa" (Koreanization of music), which mainly adapted western popular music elements, not merely borrowing them, but re-evaluating or re-creating them according to traditional musical idioms and texture. The second musical style can be categorized as the "Westernized Korean music," which is simply singing traditional folk songs with the accompaniment of the western chamber orchestra, providing a harmonic background using the primary triads of functional harmony practiced in Western music. In particular, the latter category of the hybridization, I argue, was closely related to the sinminyo that is now known to us, as a perfect example of "hybrid musicking," which had begun to gain enormous popularity in the 1930s. The musical tradition of sinminyo emerged from this unique performance culture of the popular folksongs (tongsok minyo) tradition, solely with the Western orchestral accompaniment, and from this, sinminyo had developed into a complex musical genre that retains the multi-stylistic features. Second, I presented the history of sinminyo, a chronological approach to how sinminyo had emerged and developed throughout the Japanese colonial period. I have designated four stages of the time span of sinminyo's entire history, roughly a fifty-year span beginning from the turn of the century to the end of the Japanese colonial rule in 1945: 1) the first stage, the early 20th century-1933; 2) the second stage, 1934-1936; 3) the third stage, 1937-1939; 4) and the fourth stage, 1940-1945. The first stage denotes the period in which sinminyo gradually emerged as one of the most influential vocal genres beginning in the early 20th century to early 1930s when sinminyo entered mainstream popular music around the time that the recording industry was firmly established as the most influential media of pubic entertainment. The second stage is the period in which sinminyo had the most rapid development in the history of Korean popular music. The third stage reflects the period of sinminyo's musical maturity that is evidenced by the abundance of new experimental attempts by many characteristic composers in creating diverse of musical styles and forms, despite of the general depression of the recording industry. The last stage displays the period in which the popularity of sinminyo had gradually declined both its production and consumption, largely influenced by the social and political devastation of the Pacific War. Third, I provided an in-depth analysis of the musical elements of sinminyo, including mode, rhythm and meter, tonality and harmony. I have discovered that the music of sinminyo typically utilizes diverse forms of modal possibilities from various regional and cultural sources and practices. For example, the melodic construction of the majority of sinminyo relies largely on the folksong traditions of the central region which can be characterized by having unique melodic and modal configurations known as "gyeong-tori" (central style). In the performance of sinminyo, however, I have found that there are two sub-modal forms which I have classified as "sin gyeong-tori"(new central style) and "sin ban gyeong-tori" (new half central style). These two sub-forms, "sin gyeong-tori" and "sin ban gyeong-tori," can be seen as being derived from the traditional modal forms found in various central folksongs, known as "jin gyeong-tori" (central-proper) and "ban gyeong-tori"(half central), in terms of having a similar theoretical construction of five pitches. However, in the actual performance practice of the two sub-modes used in sinminyo, elements such as intonation, ornamentation and vibration (yoseong) and other stylistic idioms are quite different from that of "jin gyeong-tori" and "ban gyeong-tori" as practiced in the traditional folksongs (minyo), because of the intentional use of westernized vocal idiom and technique, and an absence of traditional performance technique. It is also common that other popular modal forms, such as the "minor and major scales of yonanuki," "dongnam-tori" (southeastern style, including both "yukjabaegi-tori" and "menari-tori"), and susimga-tori, can easily be found in many sinminyo, although far less in their total number when compared to sinminyo in the style of the central region (gyeong-tori). Furthermore, each mode contains two modal types, the original and its variation, where the variation type can usually be distinguished by having a different central pitch (modal center or cheong), as well as introducing a melodic pattern distinctively new from the original type, emphasizing a particular group of pitches in a repetitive intervallic pattern. In the analysis of the rhythmic features in sinminyo, I have observed that there has been a frequent occurrence of hybridized rhythmic elements from both traditional jangdan system and the western rhythmic forms. This hybridization of rhythm, for example, was accomplished by combining the traditional jangdan, such as gutgeori, jajinmori and semachi, with the Western dance forms, such as waltz, fox-trout and swing, which were more popular and well known over others forms. This rhythmic hybridization, along with the melodic and modal hybridization, typically provides an important theoretical framework, as well as the unique musical flavor in an expressive, emotional realm. The hybridization of the two distinctive rhythmic traditions is an interesting musical phenomenon which can also be viewed and understood in ways which tend to depart from the authentic traditional jangdan system, namely, "de-traditionalizing" or "Westernizing Korean music." It can also be interpreted as appropriating the foreign rhythmic forms, namely, the "Koreanization of the foreign rhythm," (hyangakhwa) which might have to be modified and re-evaluated to "naturalize" a rather unfamiliar entity into Korean music forms. In the performance of sinminyo, the complex nature of sinminyo is reinforced by having an ambiguous musical surrounding and atmosphere, created by the two opposite forces: the vocal line vs. the accompaniment, each of which emphasizes different musical esthetic factors the modality vs. tonality. That is to say, the melodic line of sinminyo generally follows the musical law of a modal practice, while the harmonic accompaniment, either being pre-arranged or being spontaneously expressed and created during performances, readily employs western functional triadic harmony with the use of a rather unconventional harmonic progression which results from the reflection of melodic characteristics governed by the melodic laws of a particular modality. In other words, because the harmonic configuration here is generally determined by the shape of a melody of a particular mode, the resulting harmonies and progressions do not always follow a conventional harmonic progression and the dramatic unfolding of the functional harmony, I-V-I. Fourth, I have observed the socio-musical phenomenon of the hybrid nature of sinminyo, especially through examining the musical activities and social nature of its constituent members with specific social and musical roles. For the clarity for my discussion, I distinguished the body of the constituent members according to their social roles and artistic specialties into five areas, each of which represents different artistic properties. This includes recording producer, composer, singer, arranger for instrumental ensemble, and the instrumental accompanist, all discussed separately in great detail. It is not surprising at all that the sinminyo composers during the colonial period had been considered as the composers of only Western music because of their musical background and training solely in the practice of western music traditions. As a way of naturalizing western music in Korea, the "Koreanization of Western Music," many composers had found sinminyo as an ideal choice for vigorous experimental musical practice in which the Western musical elements were re-invented, re-created and re-evaluated in order to make them suitable to the aesthetic norms and musical sentiments of the general Korean public. In the case of the singers, male singers were considerably small in number, while there was a greater number of female singers, many of whom had been kisaeng, who played a significant role in promoting sinminyo which became one of the main genres of popular music. This appears rather simple within the scope of the socio-musical framework, namely first, being characterized by a large number of female singers of kisaeng origin who had traditionally been placed at the bottom of the social hierarchy. In contrast, despite of the small presence of male singers, the sinminyo industry had always been controlled and led by a few males, mostly in charge of the creation and production side of the industry, such as producers, composers and lyricists. These men were the intellectuals of the elite class of their time, largely influenced by western modernization and other related cultural products, and already equipped with a comprehensive understanding of various musical traditions in western culture. Therefore, within a socio-cultural context, the constant interactions between the two groups became a fundamental issue in determining the musical content and the social meaning of sinminyo. As a result, this unique socio-cultural structure reflected by the two social groups each with the distinct gender and the social class can also give clear evidence of the socio-cultural "hybridization." In sum, the hybrid nature of sinminyo can be explained in two dimensions, both musical and socio-cultural. In other words, the musical nature of sinminyo, its "musical hybridization," is merely a result of, and reflective of, its own socio-cultural phenomena that are characterized as "socio-cultural hybridism," by a unique blending of these two distinctive social groups. As one of the remarkable musical characteristics of sinminyo, most of the vocal accompaniments were usually arranged for a mixture of Korean and Western orchestral instruments known as "Seonyang Hapju." The musical significance of Seonyang Hapju, in addition to its unique setting that combines two heterogeneous groups of instruments, can be found in the unique musical characteristics revealed through numerous stylistic expressive elements of performance practice. Such characteristics of Seonyang Hapju have helped to provide a broader musical scope and meaning to sinminyo, including various performance aspects such as vocalization, timbre, and unconventional instrumental techniques. Finally, the hybrid character of sinminyo has been examined by using the dualistic views, on one hand the "Westernization of Korean folk songs," and on the other, the exact opposite, the "Koreanization of Western music." In the former view, the musical uniqueness of tori (musical style of performance practice) of Korean folk songs was being seriously weakened to the point that the unique musical idioms of tori, similar to various regional accents or dialects, were gradually being replaced by the westernized well-tempered modes, such as "pseudo-gyeongtori," which were popularized as being standardized Korean modes, all controlled by the newly centralized governmental system. The later view, the "Koreanization of Western music," led by composers embracing Western influences with a common stylistic tendency, was based mainly on western music aimed at adapting various traditional forms and elements of Korean music such as modality and rhythmic patterns of various folk songs, melodic patterns and ornamentation (sigimsae), and Seonyang Hapju. These musical compositions, although fundamentally obedient to the musical idioms of the west, as well as a Western-centric aesthetic, strongly suggest the spirit of "de-centralization"of western music, idioms and tonality, which, by that time, had emerged as the mainstream genres of popular music in Korea. These dualistic schools of sinminyo, the "Koreanization of Western music," and, paradoxically, the other, the "Westernization of Korean folk songs," reveal coexisting contradictory aspects; the "centralization" and the "de-centralization," of western music . The socio-musical nature of sinminyo during the first half of the twentieth century reflects the problems of the two contradictory musical traditions: western music with its forceful presence which had quickly become the central music of the newly emerging popular culture of the modern era, in contrast with traditional music with its rapid, localized decline, being replaced be the music from western culture. No one would question the cultural significance and historical importance of sinminyo reflecting the period of colonial modernization faced with the concept of "change" and "new."As an important cultural product of this significant historic stage, sinminyo had gradually emerged from the results of various musical experiments confronting the musical problems of re-constructing a new musical tradition combining the materials from both traditional and foreign origins. In terms of evaluating artistic and musical values of popular music genres, one should not overlook its musical maturity and artistic refinement that is easily found in various repertoires of sinminyo. This musical accomplishment of sinminyo, an important moment in the history of Korean popular music, had helped not only to broaden the scope of popular music, but also to elevate the artistic status and quality of popular music. The focus of the problems on the nature of "hybrid musicking" of sinminyo, with its conflicting aspects of contradictory forces, namely, "centralization" vs. "de centralization," "tradition" vs. "modern," and "West" vs. "East," still remains "un-dissolved," constantly being negotiated and evaluated in today's contemporary creative musical fields. It has been more than 70 years since the emergence of sinminyo, and although lost in the midst of many social, cultural and political changes since 1945, sinminyo's fundamental character and experimental spirit have survived and continued, still maintaining its contemporary character and meaning, on its continuing journey in search of "newness."

노년 여성의 발레 활동 경험이 노화 불안에 미치는 영향

이소영 창원대학교 2023 국내석사

본 연구의 목적은 발레 경험이 없는 노년 여성에게 12주간의 발레 프로그램을 적용하여 노화 불안과 주관적 행복감에 미치는 영향을 규명하고 이를 통해 삶의 긍정적인 인식을 심어주고 정신적, 신체적으로 건강한 노년기를 준비할 수 있도록 기초자료를 제공하고자 한다. 대상자는 부산시에 거주하는 발레 경험이 없는 65~75세 미만의 노년 여성 20명을 대상으로 모집하였다. 12주간의 발레 프로그램을 진행하였으며 노화 불안, 주관적 행복감에 대한 변화를 사전·사후 차이를 대응표본 t검정 (paired t=test)을 실시하여 비교하였다. Lasher와 Faulkender(1993)가 개발한 Anxiety about Aging Scale (AAS)를 김욱(2010)이 번안한 도구를 사용하였고 주관적 행복감 척도는 Lyubomirsky와 Lepper(1999)에 의해 개발되고 Lyubomirsky와 Seligman(2002)에 의해 수정된 주관적 행복 척도(Subjective Happiness Scale)를 사용하였다. 본 연구의 결과는 다음과 같다. 첫째, 노화 불안의 결과는 발레 프로그램 실시 전보다 노인에 대한 두려움과 외모에 대한 걱정은 조금 감소한 것으로 나타났으며 유의한 차이가 있는 것으로 나타났다. 심리적 불안감과 상실에 대한 두려움은 발레 프로그램 후 차이가 없는 것으로 나타났으며 유의한 차이가 없는 것으로 나타났다. 둘째, 주관적 행복감의 결과는 발레 프로그램 실시 전보다 동료와 불행한 사람은 증가한 것으로 나타났으며 유의한 차이가 있는 것으로 나타났다. 내적기준과 행복한 사람은 발레 프로그램 후 조금 증가는 하였으나 유의한 차이가 없는 것으로 나타났다. 이와 같은 결론을 종합해 보면 발레 프로그램은 노년 여성의 노화 불안 및 주관적 행복감에 긍정적 결과를 가져왔으며 지속적인 발레 프로그램을 통해서 노년기에 정신적 신체적으로 건강한 삶을 기대할 수 있을 것이다. 노년 여성의 발레 프로그램의 활성화를 위해 다양한 실험과 프로그램 개발을 위한 후속 연구가 지속되기를 기대한다.

중국 드라마 <后宮甄嬛傳>의 한국어 자막 연구

이소영 忠南大學校 大學院 2015 국내석사

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