• 제목/요약/키워드: Western Ideas

검색결과 162건 처리시간 0.024초

조선시대 전통마을의 서식관에 관한 연구 - 충재 권벌의 종가를 중심으로 - (A Study on a Habitat View of Korean Traditional Villages - in the case of Chung Jae Kwon Bul family -)

  • 최기수
    • 한국조경학회지
    • /
    • 제26권4호
    • /
    • pp.82-94
    • /
    • 1999
  • According to Korean's geographical features of Taek Li Ji, the best location for human settlements is on the vicinity of a stream among a stream, an river and a sea, and not far from a ridge. The researcher chose one of best village which is called Yougokmaeul in Bonghwa-Gun, Kyungsang-Do. This village was created a gathering village with the same surname, can be translated as a hen and the front mountain can be seen as a rooster in the view of the shape of geographical features. As it were, the shape of this village and the cultivated land seems to be an egg inside a nest of a parent's chicken in the respect of the analogy of the theory of P'ungsuchiri which is known as Feng Shui in China and geomancy in the western world, and to effect the defensive psychology of the living environment in the terrain inland. This village is the studying place, Suckchunjungsa as the lecturing and studying place for their following students within the Chunghadonchun, the studying Yougok village, and even the ritual place performing ancestral sacrifices and the first incoming ancestor's graves in the same geographical system. The house site of the first incoming resident is surrounded the countian and is located in the front of Backsulryount which is the main mountain through Moonsu-san in the branch mountain of Korean's mountain system. Backsulryoung which is to be seen as the white peak, is symbolized the head of a hen which is to relate to a mysterious turtle in the view of P'ungsuchiri. And the pavilion which is called Chungamjung is sited on the rock of a shape of turtle which is symbolized to live longer. In the section of the mountain and water, Lee Jung Hwan mentioned a living place near the mountain stream is the best residential area and a landscape which is composed by a stream between mountains make a pleasure spirit and a bright feeling and make a refined person. If one can reach in the graceful mountain make a pleasure split and a bright feeling and make a refined person. If one can reach in the graceful mountain half day away, this kind of place must be a best living residential area to live. But this village was structured all in one place. And one of the ideas tangibly reflected in traditional Korean society's view of life and nature is the seclusion based on the Taoism. This kind of a dreamy thoughts make a dream to keep the paradise in our ancestors' mind. This kind of utopia is Chunghadonchun which is structured 5 aspects from the utopian gate near the Samgaesuewon to the village. These 5aspects is expressed by some Confucian thoughts as a small cosmos individually. On the third aspects which is the center among these aspects, the Suckchunjungsa which was made a seclusion place to devoting himself to his studies with refined tastes. The word of Jiju-am, Gangpung-dae, Jaewol-dae and Biryoung-pock are all expressed to cultivate one's moral character and to seek the truth by the Confucius'theory through the nature.

  • PDF

한.일 사립 여고생 교복의 조형성에 관한 비교 문화 연구 -서울과 도쿄의 사립 여자 고등학교 교복을 중심으로- (Cross-cultural Research on Visual Values of Korean and Japanese Private Girl's High School Uniform -Focused on Private Girl's High School Uniform in Seoul and Tokyo-)

  • 윤수정;권하진;김민자
    • 복식
    • /
    • 제57권7호
    • /
    • pp.30-44
    • /
    • 2007
  • The culture includes every possible objective forms created by humans and their shared aspects of ideas, feelings, and behaviors, beliefs and etc. The dress and its ornaments are part of the culture that expresses the relationships in objective ways and in formless immaterial ways. The school uniform represents significant meanings to the students in their school years, and it is the way of expressing their individuality and full filling their needs for self-presentation. Therefore, understanding and analyzing youth culture means understanding students' school uniform along with fast changing twenty first century civilization. Korea and Japan are very close nations to each other. Both Korean and Japanese girls' school uniform style were adopted western clothing style and went through many changes based on cultural differences between two countries. They are affected by different peculiarities between two nations and youth cultures from different cities. Therefore, this research is on analyzing how different visual values of girl's high school uniforms in Seoul and Tokyo and understanding youth cultures through macro-analysis. The youth cultures in Korea and Japan are mostly similar but there is special development on animation in Japan and possibly can find many styles of girl's high school uniform. Both nations are varying to be opened to sexual culture of adolescents but Japan is more uninhibited than Korea. In Japan, sailor-uniform can be found in fetish way in public culture. On one hand, because of most private girl's high schools in Tokyo takes an entrance examination, top-ranking students are very proud of their school uniforms and even students from other public high schools get private high school uniforms to attend school festival. This analysis showed that private girl's high school uniform in Seoul appealed as slim fitted silhouette which is close to modem woman's suit style while in Tokyo appealed as boxy style matched with short pleated skirt or sailor-uniform style. Comparing that to school uniform photos taken on the street, we can find that alikeness or more extreme styles as examples. These are influenced by different youth cultures in Seoul and Tokyo and cultural differences stands for different aesthetic norm being accepted or rejected.

九天上帝與明明上帝: 當代新興宗教「上帝」信仰之研究 (The Upper Thearch of the Nine Heavens (Jiutian shangdi 九天上帝) and The Upper Thearch of Manifest Luminosity (Mingming shangdi 明明上帝) : Research on "Upper Thearch" Beliefs in Contemporary Emergent Religions)

  • 林榮澤
    • 대순사상논총
    • /
    • 제34집
    • /
    • pp.107-139
    • /
    • 2020
  • 本論文的探討, 主要集中在韓國大巡真理會的最高神「九天上帝」與臺灣一貫道的萬靈真宰「明明上帝」, 二者皆為當代很具代表性的新興「上帝」信仰, 試著就其信仰的淵源, 特色及關聯性作比較研究。根據的文獻有中國古籍及道教典籍, 大巡真理會的《典經》及一貫道的《一貫道藏》等文獻, 借此以了解大巡及一貫道宇宙觀思想的特色。例如, 九天上帝因不忍看到世間愈來愈混亂, 為了讓世間變好, 走向神人調化的世界, 所以下凡來大巡世間教化世人。最終來到了韓國, 降生在甄山客望里, 展開教化世人, 解冤相生, 陰陽合德, 神人調化, 達於道通真境的理想實現。一貫道則說人的來源是在「理天」, 人是由明明上帝所創造的「原胎佛子」, 來世間為了治理世間, 接受鍛煉, 最終是要回到理天的故家鄉。但由於迷戀紅塵, 忘了回鄉之路, 所以上帝派了彌勒佛, 濟公活佛及月慧菩薩, 降生在世間教化世人, 使能認母歸根, 達本返原, 回到理天老母的家鄉。大巡會與一貫道都將萬靈真宰的最高神簡稱為「上帝」。這又與西方聖經中的上帝, 具有某些聯結性, 但又有其差異性。探究其淵源, 九天上帝與明明上帝, 似乎又與形成於殷商時期, 中國古代的上帝信仰有關。這些都是很有趣的問題, 值得作更深入的比較探究。

존재하는 모든 것들의 공존 -미주 이민자 전낙청의 사랑에 관한 한 상상 (Coexistence of Everything that Exists -An Imagination about Love of Korean American Immigrant Nakchung THUN)

  • 전우형
    • 대중서사연구
    • /
    • 제26권2호
    • /
    • pp.191-219
    • /
    • 2020
  • 이 글은 근대 초기에 일어났던 이동과 접촉의 한 양상으로서, 한인 미주 이민자의 소설쓰기의 양상과 서사적 상상력의 의미를 규명하고자 했다. 전낙청이 1930년대 쓴 소설들의 뒤늦은 귀환은 근대 초기 모빌리티의 다양성을 복원하고 기록과 기억에서 배제되었던 이민자들의 역사와 문화를 대면하게 했다는 점에서 의의가 있다. 이 소설들은 단순히 이민지라는 접경의 산물일 뿐만 아니라, 그곳을 새로운 역사와 문화, 제도와 가치 등을 생성하는 공간으로 상상하게 함으로써 지배와 종속, 중심과 주변 등의 이분법적 인식에 균열을 만들어 냈다. 이 소설들은 지적, 정서적, 윤리적으로 탁월한 인물들의 자유연애를 중심 사건으로 다루면서, 서양의 자유연애를 탈신비화하는 것과 동시에, 계급, 인종, 성별을 비롯한 여러 정체성에 의해 구획된 사회에서 벌어지는 분할과 경계에 비판적으로 개입하는 사랑의 공적인 역할을 발견한다. 전낙청의 소설쓰기는 잭이라는 인물을 통해 이민자와 선주민 공동체 사이의 적극적인 교호를 전경화함으로써, 이민자들의 유토피아가 아니라 존재하는 모든 것들이 공존하는 장소로서 헤테로토피아를 상상하게 한다. 이 소설들은 그간 종속되고 주변화된 접경에 관한 일종의 기억전쟁을 선포했다. 이민지라는 접경은 지난 세기 이래로 극심한 갈등과 불화들을 경험하는 공간이면서 동시에 유례없이 다양한 공동체와 지역사회들이 연결되는 장소로 기능하기도 했다. 접경은 분할과 점령의 대상이기 이전에 연대와 창조의 공공재였다. 이 소설들은 접경이 우리의 역사와 문화가 국가, 지역, 민족 사이의 대립항 속에서만 형성되지 않았을 가능성을 시사한다. 국경이나 경계와 먼, 그래서 고정 불변하는 교착상태가 아니라, 중심의 지배로부터 자유로운 세계로서 접경이야말로 다양한 만남을 통해 도래할 역사와 문화를 선취하는 시공간이었으며, 공동체였다.

한국의 청소년 문화, 사회화 과정과 교육적 성취: 토착적, 심리적, 문화적 맥락에서의 분석 (Adolescent culture, socialization practices, and educational achievement in Korea: Indigenous, psychological, and cultural analysis)

  • 김의철;박영신;구재선
    • 한국심리학회지 : 문화 및 사회문제
    • /
    • 제10권spc호
    • /
    • pp.177-209
    • /
    • 2004
  • 이 연구에서는 한국의 청소년 문화와 교육적 성취를 이해하기 위한 이론적이고 개념적인 틀을 모색하고자 하였다. 이를 위해 선행연구의 개관을 통해, 다음과 같은 여섯 가지 측면에서의 논의를 시도하였다. 첫째, 문화심리학과 청소년 문화를 접근하기 위한 연구의 모형을 제시하였다. 둘째, 전통적 가족 구조와 부모의 역할에 대해 살펴보고, 이것이 한국 사회의 현대화 과정에서 어떻게 변화하였는가를 검토하였다. 셋째, 한국에서의 사회화 과정과 부모자녀 관계를 살펴보았다. 넷째, 교육적인 성취와 한계를 설명하기 위해 발전되어 온 서양의 이론들을 검토하였다. 다섯째, 한국 학생들의 교육적 성취에 영향을 미치는 요인들을 제시하였다. 마지막으로 청소년들에게 부과된 중앙집권적이고 표준화된 엄격한 교육 제도의 영향을 논의하였다. 매우 통제된 중앙집권적 관료주의는 청소년의 교육적 기회와 직업에서의 기회를 제한하고 있으며, 한국 청소년의 증가하는 폭력, 비행, 및 집단 따돌림 현상에도 영향을 미치고 있다. 건전한 청소년 문화의 육성과 미래 한국 사회의 발전을 위해, 다양한 생각과 태도 및 행동을 수용하는 시민 사회를 고무하고, 동시에 인간관계에서 건강하고 강한 유대를 형성하며 유지해야 할 필요가 있음이 시사되었다.

  • PDF

단추에 관한 연구 -19, 20세기를 중심으로- (The Study on the Buttons (centering around 19th-20th Centuries))

  • 이영란
    • 복식
    • /
    • 제22권
    • /
    • pp.263-276
    • /
    • 1994
  • The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

  • PDF

이응노(1904~1989)의 회화론과 1950년대 앵포르멜 미술에 대한 인식 (Lee Ungno (1904-1989)'s Theory of Painting and Art Informel Perception in the 1950s)

  • 이장훈
    • 헤리티지:역사와 과학
    • /
    • 제52권2호
    • /
    • pp.172-195
    • /
    • 2019
  • 고암 이응노(1904~1989)의 회화 전개에서 1960년대의 파리 시절은 미술가로서 가장 전위적인 방식으로 매체의 실험 및 혁신을 이룬 시기로 평가받는다. 그리고 파리로 건너가기 직전에 개최된 이응노의 ${\ll}$도불${\gg}$전(1958. 3)은 이응노가 앵포르멜 미술을 처음 수용할 때의 회화 양상을 확인할 수 있다는 점에서 주목받아왔다. 이를 주목한 이응노 관련 연구는 1958년의 작품들을 앵포르멜과 추상표현주의의 영향으로 해석하는 관점과 이응노가 문인화로 처음 화업을 시작했다는 점에 초점을 맞추어 문인화의 사의(寫意) 정신의 발현으로 보는 관점으로 크게 구분할 수 있다. 본고는 앵포르멜과 추상표현주의를 통칭할 수 있는 '추상회화'에 대한 이응노의 인식을 확인하는 것을 목표로 하였다. 이를 해결하기 위해서는 당시 이응노의 회화론을 되짚어보는 것이 필요하기에 이응노가 회화를 처음 학습했던 해강 김규진 문하와 일본 유학 시절의 회화론을 먼저 살펴보았다. 이응노는 매너리즘에 빠진 문인화풍에서 벗어나기 위해 자연을 깊이 관조하는 것을 회화 제작의 첫 번째 원칙으로 삼았다. 그의 이러한 사생론은 1950년대까지 지속되었다. 그리고 그는 '추상(抽象)'을 서양 미술사조의 '추상회화'라는 고유 개념이 아니라 일본 유학 시절 이후 강화된 사생론에 따라 '(자연에서) 형상을 추출하다'라는 사전적 의미로 이해했을 가능성이 크다. 이응노 본인도 추상회화의 근간에는 자연의 형태가 있다고 밝힌 바가 있다. 즉 추상적인 회화와 '추상회화'는 다른 개념이기에 이를 구분하여 당시 이응노의 회화를 분석할 필요가 있다. 마지막으로 이응노의 1950년대 추상회화를 문인화의 사의(寫意) 정신이 발현된 것으로 해석하는 관점에 의문을 제기하였다. 전통 문인화론을 현대의 이응노에게 직접 연결하는 것은 오히려 이응노 회화의 개성을 가리게 하고 전통서화와 현대회화의 구분을 모호하게 만들 수 있다. 또한 이응노는 회화 제작에서 사의를 강조하긴 했지만 이는 대명제로서의 언사(言辭)였을 가능성이 높다. 왜냐하면 정작 1950년대에 제작한 작품들은 <자화상>(1956)처럼 이응노가 스스로 '북화(북종화)'라고 규정했던 회화 양식이 주를 이루기 때문이다. 이러한 양상은 문인화의 대명제로서의 '사의'와 '사의적 화법'을 구분해서 바라볼 필요가 있다는 점의 근거가 된다. 따라서 당시 그의 회화는 사의의 발현, 전통 문인화의 계승이라는 측면으로 보기보다 사의적 화법을 구사한 이응노식 추상회화라는 관점에서 새로운 해석을 필요로 한다.

용주사(龍珠寺) <삼세불회도(三世佛會圖)>의 축원문(祝願文) 해석(解釋)과 제작시기(製作時期) 추정(推定) (Interpretation of Praying Letter and Estimation of Production Period on Samsaebulhoedo at Yongjusa Temple)

  • 강관식
    • 미술자료
    • /
    • 제96권
    • /
    • pp.155-180
    • /
    • 2019
  • 용주사 <삼세불회도>는 유교적 이념과 불교적 이념, 궁중화원 양식과 산문화승 양식, 고유한 전통화법과 외래적 서양화법 같은 다양한 이원적 요소들이 창조적으로 융합되어 이룩된 기념비적 걸작으로서 조선 후기의 회화 발달과 혁신을 상징적으로 보여주는 대표적 작품의 하나이다. 그러나 화기(畫記)가 없기 때문에 현존 <삼세불회도>의 제작시기와 작가를 비정하고 양식 특징을 분석하는 문제를 놓고 연구자마다 견해 차이가 심해 지난 50여 년 간 논쟁이 끊이지 않음으로써 회화사적 의미와 가치가 제대로 인식되지 못하고 있는 실정이다. 현존 <삼세불회도>의 제작시기를 추정하는 문제는 모든 논의의 기본적 출발점이 되기 때문에 특히 중요한 문제이다. 그러나 일반적인 불화와 달리 화기(畫記)가 없고, 작가에 대한 기록이 문헌마다 다르며, 화승들의 전통적인 불화 양식과 화원들의 혁신적인 서양화법이 혼재되어 있어 작가와 양식을 일치시켜 이해하는 문제가 쉽지 않기 때문에 제작시기를 추정하는 문제는 특히 논란이 많은 쟁점 중의 하나이다. 그런데 현존 <삼세불회도>는 일반적인 불화와 달리 수미단 중앙에 왕실(王室) 존위(尊位)의 축원문(祝願文)을 써놓아 주목되며, 애초에 썼던 "주상전하(主上殿下), 왕비전하(王妃殿下), 세자전하(世子邸下)"의 삼전(三殿) 축원문을 지우고 '자궁저하(慈宮邸下)'를 '왕비전하(王妃殿下)' 앞에 추가해서 고쳐 써넣어 더욱 주목된다. 따라서 이 축원문은 현존 삼세불회도의 제작시기를 추정할 수 있는 가장 중요한 객관적 단서의 하나이다. 그리하여 최근에 새롭게 제시된 19세기 후반 제작설은 1790년의 용주사 창건 당시에는 순조(純祖)가 '원자(元子)' 신분이었고 1800년 1월 1일에야 '세자(世子)'로 책봉되었기 때문에 '세자(世子)'라는 존호가 쓰여있는 현존 <삼세불회도>의 축원문은 세자 책봉 이후에 쓰여진 것으로 보아야 하며, 형식과 도상이 19세기 후반기 화승들이 그린 청룡사나 봉은사의 <삼세불회도>와 유사하고 서양화법은 후대에 개채된 것일 가능성이 많기 때문에 현존 <삼세불회도>는 19세기 후반기의 화승에 의해 그려진 것으로 보아야 한다고 하였다. 그러나 19세기 후반 불화(佛畫) 화기(畫記)의 축원문을 광범위하게 조사해보면, 불화 제작 시점에 왕실에 실존한 인물의 신분(身分)과 생년(生年), 성씨(姓氏)까지 구체적으로 쓰는 것이 통례였기 때문에 19세기 후반에는 용주사 <삼세불회도>의 축원문처럼 수십 년 전에 승하한 사람들을 생전의 존호(尊號)로 고쳐 쓸 수 없다는 것을 알 수 있다. 이에 반해 1790년 전후에는 원자(元子)나 세자(世子)의 유무(有無)와 무관하게 의례적으로 "주상전하(主上殿下), 왕비전하(王妃殿下), 세자저하(世子邸下)"의 삼전(三殿) 축원문을 쓰는 것이 관례였기 때문에 현존 <삼세불회도>의 축원문에 '세자저하(世子邸下)'의 존호가 쓰여있는 것은 오히려 당연한 것임을 알 수 있다. 그리고 일반적인 왕실 위계와 달리 '자궁저하(慈宮邸下)'가 '왕비전하(王妃殿下)'보다 앞에 쓰여있는데, 이는 사도세자(思悼世子)의 비극으로 인한 정조와 혜경궁(자궁(慈宮)), 왕비 세 사람의 특수한 관계로 인해 정조가 혜경궁의 왕실 위상을 왕비 앞에 오도록 하여 정조대에만 사용된 특별한 왕실 전례였기 때문에 현존하는 삼세불회도의 축원문은 정조대에 개서(改書)된 것임을 알 수 있다. 또한 애초에는 당시의 일반적인 불화 축원문처럼 의례적인 삼전(三殿) 축원문을 썼다가 이를 지우고 다시 '자궁저하(慈宮邸下)'라는 특별한 존호를 넣어 개서(改書)하는 매우 특별한 일이 일어났는데, 이는 현륭원(顯隆園)의 재궁(齋宮현륭인 용주사의 가장 중요한 주인공이 사도세자의 아들인 정조와 부인인 혜경궁(惠慶宮)(자궁(慈宮))임에도 불구하고 축원문에 의뢰적인 삼전(三殿)만 쓰여있고 혜경궁이 빠져있는 것을 보고 정조가 지시하여 개서(改書)했던 것이라고 생각된다. 그리고 이 개서(改書)는 정조가 현륭원과 용주사가 준공된 뒤 처음으로 현륭원에 원행(園幸)하여 원소(園所)를 두루 돌아보고 돌아오는 길에 잠시 용주사에 들러 <삼세불회도>를 처음이자 마지막으로 친견했던 1791년 1월 17일에 정조가 지시하여 이루어진 것이라고 믿어진다. 따라서 이와 같이 특수한 내용과 형태로 이루어진 축원문은 현존 <삼세불회도>가 1790년의 창건 당시에 그려진 원본 진작임을 말해주는 가장 확실한 객관적 증거라고 할 수 있다.

도시.농촌 지역 초등학생의 가족환경, 건강행위 및 건강상태에 관한 비교 (Comparision of Family Environment, Health Behavior and Health State of Elementary Students in Urban and Rural Areas)

  • 배연숙;박경민
    • 지역사회간호학회지
    • /
    • 제9권2호
    • /
    • pp.502-517
    • /
    • 1998
  • This research intends to survey family environment, health behavior and health status of the students in urban-rural elementary schools and analyze those factors comparatively, and use the result as basic material for school health teacher to teach health education in connection with family and regional areas. It also intends to improve a pupil's self-abilitiy in health care. The subjects involve 2,774 students of urban elementary schools and 583 student in rural ones, who were selected by means of a multi -stage probability sampling. Using the questionnaire and school documents, we collected data on family environment, health behavior and health status for 19 days. Feb. 2nd 1998 through Feb. 20th 1998. The R -form of Family Environment Scale (Moos, 1974) was used in the analysis of family environment(Cronbach's Alpha =0.80). Questionnaires of Health Behavior in School-aged children used by the WHO in Europe(Aaro et al., 1986) and the ones developed by the Health Promotion Committee of the Western Pacific(WHO, 1995)(adapted by long Young-suk and Moon Young-hee(1996)) were used in the analysis of health behavior, as well documents on absences due to sickness, school health room-visits, levels of physical strength, height, weight and degree of obesity were used to determine health status. In next step, We used them with an $X^2$-test, t-test, Odds Ratio, and a 95% Confidence Interval. 1. In two dimensions of three, family-relationship (t=3.41, p=0.001) and system -maintenances(t= 2.41, p=0.0l6) the mean score of urban children were significantly higher than those of rural ones. In the personal development dimension however, there was little significant difference. Assorting family environment into 10 sub-fields and analyzing them, we recognized that urban children were superior to rural children in the sub-fields of expressiveness (t =3.47, p=0.001), conflict (t=0.48, p=0.001), active-recreational orientation (t = 1.97, p=0.049) and organization (t=4.33, p=0.000). 2. Referring to the Odds Ratios of urban-rural children's health behaviors, urban children set up more desirable behavior than rural children wear ing safety belts (Odds Ratio =0.32, p=0.000), washing hands after meals(Odds Ratio = 0.43, p= 0.000), washing hands after excreting (Odds Ratio = 0.39, p=O.OOO), washing hands after coming - home ( Odds Ratio = 0.75, p = 0.003), brushing teeth before sleeping(Odds Ratio =0.45, p=0.000), brushing teeth more than once a day (Odds Ratio =0.73, p=0.0l2), drinking boiled water (Odds Ratio = 0.49, p=0.000), collecting garbage at home(Odds Ratio=0.31, p=0.000) and in the school(Odds Ratio =0. 67, p=0.000). All these led to significant differences. As to taking milk(Odds Ratio = 1.50, p=0.000), taking care of eyesight(Odds Ratio=1.41, p=0.001) and getting physical exercise in(Odds Ratio = 1.33, p=0.0l9) and outside the school(Odds Ratio = 1.32, p=0.005), rural children had more desirable behavior which also revealed a significant difference. There was little significant difference in smoking, but the smoking rate of rural children(5.5%) was larger than that of urban children(3.9%). 3. Health status was analyzed in terms of absences, school health room-visits, levels of physical strength, and the degree of obesity, height and weight. Considering Odds Ratios of the health status of urban-rural children, the health status of rural children was significantly better than that of the urban ones in the level of physical strength(t=1.51, p=0.000) and the degree of obesity(t=1.84, p=0.000). The mean height of urban children ($150.4{\pm}7.5cm$) is taller than that of their counterparts($149.5{\pm}7.9$), which revealed a significant difference (t =2.47, p=0.0l4). The mean weight of urban children($42.9{\pm}8.6kg$) is larger than that of their counterparts($41.8{\pm}9.0kg$), which was also a significant difference(t=2.81, p=0.005). Considering the results above, we can recognize that there are significant differences in family environment, health behavior, and health status in urban-rural children. These results also suggestion ideas for health education. What we would suggest for the health program of elementary schools is that school health teachers should play an active role in promoting the need and importance of health education, develop the appropriate programs which correspond to the regional characteristics, and incorporate them into schools to improve children's ability to manage their own health management.

  • PDF

광복 후부터 1950년대까지 한국에서 활동한 외국인이 본 한국미술 (Korean Art from the view of foreigners in Korea from the period of independence to 1950s)

  • 조은정
    • 미술이론과 현장
    • /
    • 제4호
    • /
    • pp.123-144
    • /
    • 2006
  • Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

  • PDF