• 한국가족관계학회지
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• 제22권4호
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• pp.223-238
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• 2018

Objectives: The purpose of this study was a) to examine the effect of positive family relationships on post-traumatic growth in cancer patients, and b) to verify the moderating effect of spiritual sensitivity. Methods: The subjects were cancer patients, both outpatients and inpatients selected from major hospitals specialized in cancer treatment using judgement sampling. A self-administered questionnaire survey was given to cancer patients, and a total of 208 cases were collected but only 201 cases were used in the final analysis due to seven unclear and inadequate questionnaires. We performed descriptive statistics to identify the prevalence for each variable, and the moderating effect was verified through multiple regression analysis. Results: The main results are as follows. First, the average post-traumatic growth of the subjects was 3.01 (0-5 points). Second, the positive family relations of the subjects were 2.58 (0-5 points) and the average of spiritual sensitivity was 2.93 (1-5 points). Third, positive family relationship of cancer patients was positively correlated to post-traumatic growth, and spiritual sensitivity was verified as a moderator to positive family relationship enhancing the post -traumatic growth. Conclusion: These findings imply the importance of post-traumatic growth in cancer patients as a key intervention point to overcome pain and frustration from cancer. We suggest to develop family therapy programs and services aimed at fostering positive family relationships and meeting the needs of spiritual sensitivity for cancer patients and their families. This study also provides ways to promote post-traumatic growth in social welfare facilities in medical institutions and religious foundations.

• 기본간호학회지
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• 제9권3호
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• pp.462-472
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• 2002

The purpose of this study was to describe the spiritual care experiences of student nurses after they have received 2 credits in a spiritual nursing care course at a university in Seoul, Korea. The major finding are as follow: 1 The problems that students reported for their patients were. loss of self- confidence, anxiety about outward appearance, anxiety about his(her) health and illness, maladaptability, guilt, problems with dating, uncertainty about his (her) future. 2. The methods which students used to help solve the patients' problems were: prayer with patients, use of Scripture, conversation, advice, frequent meetings listening, frequent phone call, writing letters, exploring problem solving methods together, and introduction of similar patients. 3. After the students had experienced spiritual nursing care they felt satis-faction, lack of knowledge of spiritual care, understood that spiritual nursing care courses at the university are important for education and experience, and understood the need for experience to increase sensitivity to the spiritual needs of their patients. Conclusion : Maintaining spiritual wellness is a important as maintaining physical fitness and essential for optimal well being. Therefore educating student nurses in developing and maintaining spiritual wellness is essential in order for them to help their patients achieve holism.

• 한국사회복지학
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• 제69권1호
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• pp.79-101
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• 2017

본 연구는 사회복지전공 대학생의 다문화 역량을 파악하고, 다문화 역량에 영향을 미치는 영성지능, 인권태도 요인의 영향력을 구조방정식 모델을 활용하여 검증하는데 그 목적이 있다. 독립변수로 영성지능을, 종속변수로 다문화 역량을 설정하였으며, 인권태도를 매개변수로 구성하였다. 연구대상은 대구 경북 지역 5개 대학의 사회복지전공 대학생으로 259명의 자료를 분석하였다. 분석결과 다문화 역량에 영성지능과 인권태도가 유의미한 영향을 미침으로써 영성지능과 인권태도의 수준이 높을수록 다문화 역량도 높은 것으로 나타났다. 또한 영성지능이 인권태도에 유의미한 영향을 미치는 것으로 나타나 영성지능이 높을수록 인권태도의 수준이 높았다. 그리고 다문화 역량에 대한 영성지능의 경로에서 인권태도가 유의미한 매개효과를 가지는 것을 확인하였다. 이러한 결과는 사회복지전공 대학생이 초월성, 삶의 의미와 목적과 연결성을 내포한 영성지능의 수준을 높게 가질 때 사회복지실천에서 중요시되는 인권적인 관점이 강화되고 다양한 정체성을 가진 이주자들을 원조하는데 요구되는 다문화 역량이 높아질 수 있음을 말해준다. 이상의 연구결과를 바탕으로 사회복지 전공대학생이 '다문화 역량 민감성', '영성지능 민감성', '인권태도 민감성' 등의 3가지 '다(多)민감성'을 갖출 필요가 있음을 제안하였다.

• 복식문화연구
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• 제20권2호
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• pp.263-271
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• 2012

Cultural products reflect a living culture and evolve despite being based on traditional forms only. It is known as traditional cultural expression that portray certain culture groups, materials, spiritual and creativity inspired from their living environment that characterize a society. The old Malay community had a close relationship with their surrounding and environment. Sensitivity towards the nature and surrounding environment moved them into creative people. In designing the local traditional textile, role of the motifs, design and product design play an important element in Malay cultural values. This reflects the symbols and philosophy of the arts and culture and thus becomes the identity of the Malay community, which in general practice their culture and tradition based on Islamic culture and religion. Kelantan and Terengganu are the pioneer states for most producers of Malay traditional textiles. In these states the Pelangi cloths, is one of the unique textiles use and inherited by the Malay communities. Base on history, the Malay rulers and Malay nobility used Pelangi cloth as complementing clothing and ornament in attending various ceremonies and customs in their daily life. In this paper will discuss the specific picture of Pelangi motifs, design and its usage in Malay society in Malay Peninsula through its identification aspect of representations. It shows that this textile represent certain insights of Malay customs and identity.

• 대한간호학회지
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• 제28권2호
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• pp.479-489
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• 1998

This work was done for 9 patients having experience of a herb medical treatment after being diagnosed as CVA during a year from January, 1996 to December, 1996 by using an ethnographic research method. The summarized results of this research are following. Ⅰ. THE EXPERIENCE OF THE ILLNESS First, the falling-ill phase is the time that they have the first stroke of paralysis and the decision pattern of medical institution' comes out. The emotional experience in the period is something like 'flustration', 'anxiety', 'despair', and 'expectation'. Second, the active-treatment phase is the time that the patients as well as their family or care giver not only show the positive attitude and actively participate in the illness treatment but also show a lot of interest in medical institutions and activities of health recovery. There is a primary factor of the continuation of treatment as an experience of treatment and being crushed and sensitivity as an experience of the illness. Third, the rehabilitation phase is the time that the patients or their family become tired and insensitive to the treatment and recuperation, and then reduce the treatment activity. There is a primary influence factor of the discontinuance of treatment as an experience of treatment and physical experience and emotional experience as an experience of the illness. The physical experience is divided into 'personal-hygiene care', and 'the sphere of activity' The emotional experiences are 'blaming someone', 'contempt' and 'despair' as a negative experience and 'hope' as a positive experience. Ⅱ. COPING STRATEGY There are a physical coping, an emotional and mental coping, a social coping, and a spiritual coping as a coping strategy used for the patients to overcome their illness and adjust themselves to their altered life. First, the physical coping comes out as 8 categories, 'using an auxiliary tool', 'doing exercise', 'protecting', 'improving their diet', 'taking care of something', 'using subsidiary medicines', 'trying a folk remedy', and 'having interest in their health'. Second, for the emotional and mental coping, there are 'accepting' and 'trying' as a positive coping and a failure of control as a negative coping. Third, the social coping is appeared as 'being supported'. Fourth, the spiritual coping is recognized as' recourse to God' and 'preparation of death'. After all, the elderly CVA patients in an agricultural area choose the act of treatment based on the traditional belief and the relationship with a caretaker. A personal health can be maintained by taking care of themselves and controling their mind, and the overcome of the illness is decided on the basis of traditional concepts and cultural principles in which the patients as well as the family, neigbors and take carers should work out together and cooperate with each other in order to achieve that.

• 복식문화연구
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• 제17권1호
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• pp.105-119
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• 2009

The purpose of this study is to grasp the aesthetic characteristics of the retro romantic fashion. As a result of study, three artistic characteristics of the retro romantic fashion were presented. First, retro romantic fashion has an exaggerated formativeness. Retro romantic fashion has overcome the confinement of the present to imitate the splendor and decorative style of the past which results in exaggeration. Exaggerated costume tends to be spaciously bigger and emphasizes one particular part which offers implicated significance for the space between the body and the costume. A new visual fashion is created through this space. Second, retro romantic fashion encompasses gorgeous decorativeness. From an artistic point of view, decorations are part of impulsively formulated art. Artistic effects of such decorations are uniformly confirmed in various artistic states. Therefore, through gorgeous decorations, retro romantic fashion rejects artificiality and lack of sensitivity for new effects of aesthetics through expression of stronger artistic and spiritual desires. Third, retro romantic fashion expresses pluralistic retro. The current society has left the formalities of the modernism for a pluralistic society where openness, diversity, and uniqueness are respected. Such components of the pluralistic society are repetitively used in fashion. Time reflective retro romantic fashion is being recreated by borrowing images rather than replaying the historical contents, with the style, silhouette, and specific items that swayed in the past, being combined with modern materials, techniques, and designs. Literature review were conducted for this study. Literature review on retro romanticism encompassed resources on aesthetics, literature and art, including national and international fashion related literatures.

• 셀메드
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• 제2권1호
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• pp.8.1-8.4
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• 2012

There are few reports about the beliefs of psoriasis patients related to their disorder and therapy modalities except for the medical ones. We aimed to investigate the beliefs of psoriasis patients about their disorders, where they had attended therapies unrelated to dermatologists and what modality of unconventional therapies they used for psoriasis in Turkey. The study was performed on 141 psoriasis patients. The age, sex, education status and the number of visits to the dermatology clinics were recorded. How the patients decided to visit the dermatology clinic (themselves, directed by others), where they attended for treatment of psoriasis outside of the dermatologist, what they think about the causes of their disease and what they used for treatment of psoriasis were asked. The mean age of the patients was $33.44{\pm}15.13$ years. The patients whose ages were over 30 years significantly more went to dermatology clinics. 68.1% of the patients attended the dermatology clinic based on the individual decision, 18.4% were directed by family members and 5.7% by friends. 45.4% of the patients believed that stress was the cause of their disease. 54.6% of the patients had used at least one type of unconventional therapy for psoriasis. The most frequently used unconventional therapy forms were herbal (24.1%) and spiritual therapies (22%). One conclusion is psoriasis patients need education about their diseases. Dermatologists should have information about the tendencies of the patients and approach the patients with sensitivity and empathy and give objective knowledge about psoriasis.

• 영어영문학
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• 제56권2호
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• 조형예술학연구
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• 제12권
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• pp.97-124
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• 2007

본 논문은 도가(道家)의 대표적 철학자인 "장자(莊子)"의 "소요유(逍遙遊)"에 제시된 '유(遊)'란 개념이 미술교육에서 필요한 것인지를 연구하였다. 우선 장자의 '유(遊)' 개념과 미술교육의 배경 및 필요성을 정의하고, 동양미술에서 활용된 '유(遊)'의 의미를 미학적으로 분석하여 오늘날 '유(遊)' 개념이 현대동양미술교육에 응용되고 표현될 수 있는지 탐색하는데 역점을 두었다. 논문의 전개 중 제2장은 장자의 철학적 '노닐음(유(遊))'의 개념 및 사유, 제3장은 미술교육의 배경 및 필요성을 연구하였다. 제4장은 장자의 노닐음(유(遊))'을 통한 동양화실기교육 접근을 연구하였다. 우선 노닐음(유(遊))'을 통한 동양화실기교육 접근을 2장에서 연구된 사유방법으로서 공간개념인 '허실(虛實)'과 표현기법으로 '필묵(筆墨)', 작가의 정신적 화면의 경지는 '사의(寫意)'로써 각각 분석 연구하였다. 첫째, '유(遊)'와 동양화의 상호관계성을 허실(虛實)의 조형이념으로 고찰 했을 때, 허(虛)는 그외 대상이 본질로 드러난 실(實)의 부분으로 하여금 감상자들에게 연상과 암시, 상상을 불러일으켜 예술가가 표현하고자 하는 적극적인 잊음(유(遊))의 경계를 뜻하므로 '허(虛)'는 '유(遊)'와 서로 같은 경계의 맥락이라 할 수 있다. 따라서 허(虛)와 실(實)은 조형 활동의 경험을 통하여 표현 및 감상 능력을 길러, 창조성을 계발하고 정서를 함양시켜 미술교육에서 필요성이 나타남을 알 수 있었다. 둘째, 필묵으로 음(陰)과의 양(陽)의 걍약으로 신(神), 기(氣)(심제(心齊)), 전신(傳神), 사의(寫意)등을 각각의 예술적 경지를 표현하는 것이다. 따라서 필묵은 형사(形似)와 사의적(寫意的)적인 예술형상의 창조까지 연계되어 있는 중요한 것이다. 따라서 정신적 '노닐음'의 경계를 통한 자유로움은 사유에 의한 표현 할 수 있는 창조력과 자연 감상능력 및 미적 문화의 가치를 판단할 수 있는 교육을 탄생시킬 수 있는 것이다. 이상의 결과로 볼 때, 미적 안목의 육성, 창의성 계발, 감성능력의 함양, 조형능력의 함양 등의 인성교육으로 복합적인 미적 논리가 다양한 현대미술 속에서 동양미술교육의 정체성을 지킬 수 있는 하나의 방법론이라 본다.

• 트랜스-
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• 제8권
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• pp.1-28
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• 2020

본 연구는 지역기반 음악사조로서 '홍대 사운드'의 정체성을 '미8군 사운드'와 영국 '런던 펑크'와의 비교분석을 통해 고찰해본다. 홍대음악은 90년대 클럽을 중심으로 활동하던 밴드들이 연주하던, 주류의 음악과는 장르적·산업적으로 다른 비주류적 감성의 음악을 통칭한다. 하지만 '인디'라는 산업적인 관점에서의 정체성이 음악사조로서의 홍대음악에 대한 학술적 접근을 어렵게 만드는 것도 사실이다. 그러므로 서구의 다른 음악사조와 마찬가지로 지역기반의 음악사조로서 홍대 사운드의 정체성을 명확하게 재정립하는 것이 필요하다. '미8군 사운드'는 50년대 미군의 한국 주둔 이후 자연스럽게 형성된 미8군부대 내 공연무대에서 연주되던 음악적 경향을 통칭한다. 미군 커뮤니티의 위문공연을 위해 오디션 시스템을 통해 선발된 국내 뮤지션들은 그들의 입맛에 맞는 서양의 최신 대중음악을 자연스럽게 익혔고, 이는 한국대중문화에 빠르게 전파되어갔다. 미8군 사운드의 산업시스템은 오늘날 '케이팝'과 매우 흡사하지만, 새롭게 등장한 록 장르를 수용하여 새로운 음악경향을 주도했다는 점에서 홍대 사운드와 유사한 면을 발견할 수 있다. 런던 펑크는 70년대 중반 영국 젊은이들의 사회적 불만과 저항정신을 담은 록 장르로, 기본에 충실한 음악적 구성과 인디의 DIY정신을 내세운 대안적 음악이었다. 홍대 사운드는 산업구조나 음악 스타일, 정신적인 면에서 런던 펑크의 많은 부분을 계승하였다. 하지만 시류의 변화에 영합하여 주류로 편입된 런던펑크와 달리 홍대 사운드는 끊임없는 변화를 모색하면서도 인디의 기본정신과 진정성을 포기하지 않으며 음악사적으로 유래를 찾기 힘든 지속성을 유지하고 있다.