• 한국자원식물학회지
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• 제16권2호
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• pp.99-108
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• 2003

본 연구는 경기도 안성지역에 소재하는 노거수의 합리적인 보전 및 관리방안을 제시하기 위해 수행하였다. 안성지역에 분포하는 노거수는 총 6종으로 조사되었다. 주요 수종은 느티나무, 은행나무, 음나무, 참배나무, 취앙네, 소나무 등의 순으로 전형적 온대기후대에서 수명이 상대적으로 긴 수종들임을 알 수 있었다. 그 가운데 느티나무는 전체 수종 가운데 73.5%를 차지하여 가장 많이 분포하였다. 본 조사에서 나타난 노거수들의 흉고직경은 전체의 76.4%가 1.5 m 이상으로 나타났으며 수고는 10-14 m 범위가 47.1%를 차지하였다. 노거수의 추정연령 은 200∼299년 범위가 38.2%로 가장 높은 분포를 나타냈으며 500년 이상도 20.6%나 조사되었다. 또한 안성시 노거수의 64.7%는 민속신앙 또는 전설, 고사 등의 전승 유래를 지니고 있어 매우 중요한 생물 문화재적 가치를 지니고 있는 것으로 조사되었다. 안성 지역의 대부분 노거수에는 조류 및 착생식물 등의 생물이 함께 서식하고 있음이 조사되었다. 노거수에 대한 관리실태는 전체에서 98.3%가 병충해 및 가지절단 등과 같은 심각한 훼손상태로 방치되어 있는 것으로 나타났으며 전체 조사 노거수의 47.1%는 근원부 주변이 콘크리트 및 아스콘 등으로 포장되어 투수 및 통기조건이 매우 불량한 것으로 조사되었다. 또한 완전히 없어져 버린 노거수도 1종이 조사되었다.

• 대한한방내과학회지
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• 제19권1호
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• pp.524-552
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• 1998

Purgation therapy has played an important role as a influential remedy from the begining of the Chinese medicine. Especially purgation therapy is raised as the effective remedy on the acute infectious disease in the book of 'Treatise on Febrile Disease'. But It was inclined to cold-nature and available only in the excess syndrome. Nevertheless it is evident that the book has showed an example of this therapy. During the middle age, purgation therapy is classified into several subtype; hydrogogue therapy, laxation with lubricants, purgation with cold-natured drugs and purgation with warm-natured drugs. Comparing with the ancient times, it must be a progression. It was investigated earnestly by a school leaded by Zhang Congzheng. They were not restricted to several diseases, but applied it to the wide range of diseases. They thought as following. 'One is ill from pathogenic factor so that you should eliminate it from the human body'. Hence, they frequently used three major remedies such as diaphoresis, emesis and purgation. In this process, purgation therapy had showed eye-opening progress. But opposition to it was not little. Li Gao was a representative man on the opposite side. He expressed a critical opinion and placed great importance on the genuine energy, the natural healing force. Under his influence, a large number of doctors evaded purgation and put it under taboo. On account of these trend, purgation therapy had took a backward step and retrograded. Therefore cathartics such as Rhei Radix et Rhizoma, Rharbitidis Semen, cold drugs such as Gypsum Fibrosum, etc. had been excluded for preservation of the genuine energy, and came about an obnoxious custom to value only 'tonity deficiency', or 'warm and tonify'. As it had came into fashion to approach most disease from the point of view, purgation therapy was merely fall into a remedy of constipation. After the eighteenth century purgation therapy encountered the new period of rivival. It was introduced by them who strived for the study of Epidemics to the new current of thought, so called '增水行舟'. It was because 온병 was apt to dissipate one's Yin fluid. Therefore purgation therapy of this period was characterized by establishing nourishment Yin and body fluid with or without use of timely purgation of accumulation of heat. From the time of Zhang Congzheng, it was accomplished by Lee Je-ma to the most epoch-making change. He caused an improvement in the use of purgation therapy by regarding innate constitutional contradiction as importance than representing clinical symptoms. He warned that existing remedies that depend only upon symptoms and signs, not upon individual characteristics including constitutional features didn't bring round to but kill them. And he understood all the pathologic processes in his constitutional theory, investigated specific drugs on four constitution, made indications of each prescriptions clear. For giving to differentiation of constition before differentiation of syndrom, his new slant on the pathologic phenomena overcome the limitations of 변증시치, and revaluate purgation therapy from remedy impaire the genuine energy to that restore it by recover the balance between the internal organ. It is the product of him to fundamentally upset the cause to be in disregard of purgation therapy.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 한국전통조경학회지
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• 제31권2호
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• pp.58-69
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• 2013

본 연구는 서민의 삶과 문화가 담긴 이태원 부군당 마을 숲의 변천 과정과 변형 전 모습을 기록하여 서민 생활문화 공간을 재조명하고자 했다. 이에 도출된 결과는 다음과 같다. 첫째, 이태원 부군당은 마을 숲의 중심건물로 가장 높은 곳에 입지하며, 이중의 담장과 금기사항으로 보존되어 왔다. 마을 숲의 물리적 요소는 부군당의 신성성을 부여하는 요소로 작용했다. 둘째, 이태원 부군당 마을 숲은 도심지 내 녹지의 역할과 남산에서 용산가족공원을 잇는 연결 녹지로서 역할을 담당한다. 더불어 비오톱 1등급 지역으로 절대 보존지역에 해당하는 생태적 가치를 지녔다. 셋째, 마을 숲 내 대경목인 느티나무와 음나무는 서울시 보호수로 지정하여 보존할 가치를 지녔다. 넷째, 부군당 건물은 한식목구조 형태로 이질적인 재료가 결합되어 건축되었다. 건축사적 희소성과 구조적 특징으로 등록문화재로 등록할 수 있는 가치를 갖추고 있다. 다섯째, 이태원 부군당에서 전해져 내려오는 당과 당제는 사라져가는 전통문화로서 가치를 지니며, 자생적인 전통 커뮤니티 발굴로도 의미를 지닌다. 이처럼 이태원 부군당 마을 숲은 지역의 전통조경 대상지로서 사라져가는 전통문화를 이어주며 오늘날 새로운 마을 공동체의 공간으로 재생되었을 때 지역의 커뮤니티 공간 및 도시경관 요소로서 잠재적 가치가 크다고 할 수 있다. 또한 부군당 건물의 경우 건축적으로도 시사하는 바가 크다.

• 한국식품영양과학회지
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• 제32권7호
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• pp.1147-1152
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• 2003

본 연구는 경남 남해군 서면과 설천면에 거주하는 85세 이상의 고령 노인 중에서 거동에 불편함이 없고 특별한 질환이 없는 대체로 건강한 노인 100명을 대상으로 하였다. 대상자들의 일반적인 특성, 식습관 및 건강관련 요인들을 조사한 결과는 다음과 같다. 교육수준은 무학이 95.0%로서 남자는 83.3%, 여자는 98.7%를 나타내었고 가족형태는 아들과 함께 사는 경우가 63.0%로 가장 많았으며 딸과 함께 사는 경우가 1.3%로 가장 적었다. 월 평균 용돈은 5만원 이하가 51.7%로 가장 많았고 81.0%의 노인들이 자녀에게 용돈을 받는 것으로 나타났다. 부모님의 사망연령은 아버지가 평균 67.3$\pm$15.9세, 어머니가 평균 58.1$\pm$16.6세로 거의 유사하였으나 남자 노인인 경우는 아버지가 여자노인인 경우는 어머니가 더 오래 생존했던 것으로 나타났다. 하루에 세 끼니를 섭취하는 노인이 평균 84.0%로 가장 많았는데 여자(89.5%)가 남자(66.7%)에 비해 유의적으로 많았으며(p<0.05)남녀 각각 91.7%, 93.4%의 노인이 규칙적인 식습관을 갖고 있었다. 조사 노인의 약 77.1%가 금기식품이 없다고 하였고 약 90.5%가 건강식품이나 보충제를 섭취하지 않고 있었다. 음주는 남자 58.3%, 여자 35.5%가 하는 것으로 나타났고 음주시작 연령은 남자는 30세 이전이 71.4%로 가장 많았으며 여자는 31∼40세가 33.3%로 가장 많았고 일일 평균 알코올 섭취량은 남자는 11∼30g, 여자는 10g이하가 대부분이었다. 남자 33.3%, 여자 28.9%가 흡연을 하였으며 흡연시작 연령은 남자는 20세 이전, 여자는 31∼40세가 가장 많았고 흡연량에 있어서는 하루 5개비 이하가 남녀 각각 37.5%, 50.0%로 가장 높은 비율을 차지하였다. 조사 노인들의 평균 수면시간은 6∼8시 간, 활동시간은 4∼5시간이 가장 많았고 남자 91.7% 여자 85.5%가 ‘건강하다’, 남자 58.3% 여자 67.1%가 ‘행복하다’라고 스스로 인식하고 있었다.

• 한국사회복지학
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• 제56권2호
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• pp.215-235
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• 2004

가족과 관련하여 우리나라가 경험하는 극심한 사회변동중의 하나는 재혼의 급증이다. 2002년 전체 혼인의 21%를 차지할 정도의 재혼율 상승, 여성 재혼율의 남성우위현상, 재혼의 불안정성과 높은 재이혼율 등은 사회적 관심과 개입을 요구한다고 하겠다. 이러한 배경에서 증가하는 재혼가족의 건강한 기능을 위해 사회복지적 개입이 필요함을 강조하고, 구체적으로 재혼가족 기능향상을 위한 프로그램의 기본적 방향과 관점을 제시하고자 본 연구를 시도하였다. 연구 결과에서 관심을 끄는 사실은 재혼의 놀라운 증가와는 달리 재혼생활에 대해 알려진 바가 거의 없다는 점, 재혼자들이 재혼에 대한 준비를 거의 하지 않는다는 점, 대신에 재혼에 대한 비현실적인 환상과 사회적 통념만이 크게 존재한다는 점 등이었다. 따라서 재혼가족을 지원하는 프로그램은 재혼을 둘러싸고 존재하는 많은 환상들에 도전하여 재혼의 실체를 현실적으로 인식시켜야 함을 제안하였다. 또한 재혼을 초혼에 준거하여 바라보는 것은 적절치 않으며, 재혼가족 나름의 발달과정을 거치며, 재혼가족에서 보이는 갈등이나 마찰은 하나의 새로운 가족으로 발달하는 과정에서 나타나는 정상적 현상으로 보아야 함을 강조하였다.

• 호스피스학술지
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• 제5권1호
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• pp.42-49
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• 2005

To determine which are the culturally specific factors of Korean bereavement, this chapter focuses on the view of death and the traditional mourning process which reflect Korean values and norms. The formation of the Korean view and understanding of death has been strongly influenced by three of its major traditional religions: Shamanism, Buddhism, and Confucianism (Park:1994: Hao:1999) and Christianity more recently. Each religion has a different view of death and the appropriate expression of mourning. Korea accommodates funeral customs and rules strictly as a cultural system and has retained these traditions over a long period; hence, some of the traditional funeral rituals still remain in modern Korean life, although some of the rites have been simplified. We have looked at the various ways in which grief and mourning is displayed and shared in a collective manner over a long period of time. This fits in well within the other Eastern cultures that are collectively organized, and contrary to the Eurocentric models do not hastily seek to detach the living from the dead and recognize that grief is a long process, and different individuals may take different amounts of time to recover from the grief. The view of death and bereavement in Korea has sprung from the roots of three Korean religions, together with the recent addition of Christianity, although they mainly result from the three earlier religions. The beliefs of these religions are still closely linked together in the rituals of Korean bereavement on both conscious and unconscious levels. The influence of these religions is evident in practice through the bereaved family's mourning reactions, funeral rites and customs and its views about death. Korea used to have a period of mourning for three years, following traditional mourning rites; then the chief mourner and the bereaved families could return to their normal life. In spite of this long mourning process for the bereaved family, once the funeral ceremony is finished, people expect the bereaved family not to express their grief in public; even the bereaved family does not like to talk about death. The process for bereaved people is related to mourning processes in terms of detachment from the deceased in order to start a new life. Relatives and the community recommend the performance of the kut ceremony for relieving the grief of the bereaved. When one family member dies in an unlucky way, the bereaved family may have some fear or other psychological reactions of grief such as pain, depression, insomnia and nightmares, hallucinations or other physical reactions. Unlucky deaths give the bereaved a very painful time and these types of reactions are often more serious than reactions to natural death. But through the kut ceremony, the bereaved family can start to make a new relationship with the deceased. The taboo of this type of death and death generally remains a crucial aspect of the isolation that bereaved people might face and the collective nature of mourning(even where it is still present) is unable to address this aspect of the privatization of grief.

• 한국의사학회지
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• 제30권1호
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• pp.23-31
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• 2017

Euibangyoochui (醫方類聚), the largest medical book in Korea, has medical and historical significance in that it had classified almost all East Asian medical accomplishments before Joseon Dynasty (1392-1910). Focusing on these values, this research investigates Yi'an (醫案), an East Asian tradition of describing clinical encounters and the therapies employed, in Euibangyoochui. By this investigation, this study expected to not only establish how the genre of Yi'an is employed for what purpose in Euibangyoochui, but also to shed a light on the appearance of Yi'an before Joseon Dynasty. At first, this study extracted Yi'an from Euibangyoochui (醫方類聚), as Yi'an does not have a standardized format. In total, the number of extracted Yi'ans is 1,025 with handwork results. Extracted Yi'ans are analyzed statically, in order to find dispersion of Yi'ans for each chapter and its references. Overall, there are 73 chapters of Euibangyoochui, which has a total of 93 chapters, containing Yi'an, while the chapter on gynecology contains the highest number of Yi'ans, 86. Judged from these result, the genre of Yi'an was used diversely and frequently, indicating various messages in Euibangyoochui. To categorize the usage and purpose of writing of Yi'ans in Euibangyoochui, this study considers some examples of Yi'ans and concludes that 3 types of Yi'ans are employed in Euibangyoochui in order to deliver the adequate medical message. One is result-centered Yi'an delivering a broader medical lesson, such as a taboo in treatment or a doctrine in medicine. The second is the concise-styled Yi'an presenting a short effective medical method. The third is multiple-information Yi'an that describes complex information of patients and medical theories, transmitting diverse lessons. Yi'ans in Euibangyoochui refer to 58 medical books. Books written by JangJaHwa (張子和; 1156-1228) are the most cited books, offering almost a quarter of total amount of Yi'ans in Euibangyoochui. This study is meaningful in that it provides basic information, such as numbers, applications, purpose of writing and references of Yi'an in Euibangyoochui. Moreover considering the historic values of Euibangyoochui, this information reflects, on the other hands, overall figures of Yi'an written before publication of Euibangyoochui.

• 비교문화연구
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• 제28권
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• pp.17-36
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• 2012

This essay places the South Korean film Thirst (2009) within Park Chan-wook's oeuvre as a filmmaker notorious for graphic depictions of violence and revenge. Park's use of dark humour in his films, which is emphasized in Thirst perhaps more than ever, allows for a more self-aware depiction of violence, where both the viewer and the protagonist are awakened to the futility of revenge. This ultimately paints his characters as fascinatingly crazy - simultaneously heroes, villains, and victims. Film theorist Wes D. Gehring's three themes of dark humour ('man as beast,' 'the absurdity of the world,' and 'the omnipresence of death') become most obvious in Park's most recent film, which pays closer attention to character development through narrative detail. Rather than portraying the characters as sentimental, dark humour depicts their misfortunes in an alternative way, allowing for consideration of such taboo subjects as religion, adultery, and death/suicide. These issues are further tackled through Thirst's portrayal of its vampire protagonist, which ultimately de-mystifies the traditional vampire figure. While this character has more often been associated with romance, exoticism and the mystical powers of the supernatural, Thirst takes relatively little from the demons of Nosferatu (Murnau, 1922) and various other Dracula adaptations, nor the romantic figures of Interview with the Vampire (Jordan, 1994), and Twilight (Hardwicke, 2008). Instead, it is part of a much smaller group of contemporary vampire films, which are rather informed by a postmodern reconfiguration of the monster. Thus, this paper examines Thirst as an important contribution to the global and hybrid nature of those films in which postmodern vampires are sympathetic and de-mystified, exhibiting symptoms stemming from a natural illness or misfortune. Park's undertaking of a vampire film allows for a complex balance between narrative and visuals through his focus on the Western implications of this myth within Korean cinema. This combination of international references and traditional Korean culture marks it as highly conscious of New Korean Cinema's focus on globalization. With Thirst, Park successfully unites familiar images of the vampire hunting and feeding, with more stylistically distinct, grotesque images of violence and revenge. In this sense, dark humour highlights the less charming aspects of the vampire struggling to survive, most effective in scenes depicting the protagonist feeding from his friend's IV in the hospital, and sitting in the sunlight, slowly turning to ash, in the final minutes of the film. The international appeal of Park's style, combining conventions of the horror/thriller genre with his own mixture of dark humour and non-linear narrative, is epitomized in Thirst, which underscores South Korea's growing global interest with its overt international framework. Furthermore, he portrayal of the vampire as a sympathetic figure allows for a shift away from the conventional focus on myth and the exotic, toward a renewed construction of the vampire in terms of its contribution to generic hybridization and cultural adaptation.

• 여성학논집
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• 제28권1호
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• pp.3-42
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• 2011

이 연구는 1988년 강압적으로 한국시장을 개방했던 초국적 담배기업들의 여성시장확장전략이 갖는 특성을 분석한다. PM사와 BAT사의 대표적인 글로벌 여성담배인 '버지니아 슬림'과 '휘네스'에 초점을 맞추고, 그들이 자국과 세계시장에서 사용해온 전형적인 광고전략이 한국 상황에서 수정, 폐기되었을 가능성을 탐색한다. '버지니아슬림'은 한국시장에 진입한 후 3년 만에 여성담배로서의 브랜드 정체성을 포기함으로써 1990년대 외산담배시장 점유율 2위를 고수하는 성공을 거두었다. 반면, 전형적인 광고라인을 10여 년 동안 유지했던 '휘네스'는 여성담배로서 인지도는 가장 높았지만 시장점유율은 버지니아 슬림보다 훨씬 뒤쳐졌다. 1990년대 여전했던 한국 담배시장의 남성 주도성과 여성을 대상으로 한 담배광고와 판촉에 대한 전면 규제조치는 초국적 담배회사들이 한국여성 소비자를 확보하는데 '이중 장애물'로 작용했을 것이다. 그러나 담배광고 규제를 우회하는 간접광고와 판촉 행위들이 다각적으로 이루어진 사실은 글로벌 여성담배의 광고전략 변화가 한국여성 소비자 공략에 대한 포기라기보다는 남녀공용 담배로의 전환일 수 있음을 시사한다. 또한 부드럽고 순한 맛의 여성담배 특성이 성별 이미지보다는 건강 이미지와 결합되는 한, 한국여성들의 감성과 욕망에 호소하는 광고가 부재하더라도 건강한 담배를 자처하는 광고들이 한국여성들에게 호소력을 가질 수 있다.