• 한국산림과학회지
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• 제99권1호
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• pp.153-162
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• 2010

본 연구는 경기도 용인 지역 전나무(Abies holophylla Maxim.) 임분의 구조를 분석하고, 이 지역 전나무 임분의 지속가능성을 알아보기 위하여 수행되었다. 용인시의 정수리, 대대리, 호동 지역 전나무 임분에서 매목조사를 실시하고, 관목층의 구조와 치수의 발생을 조사하였다. 산림 관리나 작업이 이루어지지 않았던 정수리와 대대리 임분에서 전나무는 중요도 40%로 임분을 우점하고 있었으며, 연속적인 연령과 직경분포를 보이고 있었다. 반면 호동 지역 임분은 간벌과 택벌 등의 산림 작업이 이루어졌던 지역으로 전나무가 흉고직경 10-45 cm 범위에 분포하나 대부분 25-30 cm 직경급에 몰려 있고, 단일수관층을 가지고 있었다. 전나무의 연령과 흉고직경의 상관 관계는 유의한 것으로 나타나긴 하였으나 높지 않았고($R^2$=0.2, P=0.03), 비슷한 연령대라도 다양한 흉고직경 값을 가졌다. 정수리 임분의 연속적인 직경 분포와 다층수관구조는 전나무가 조림 후 지속적으로 갱신이 이루어져 왔음을 보여주었다. 전나무의 치수는 ha당 2000-33000본까지 발생하였으나, 2-5 cm 직경급의 전나무는 ha당 70-150본 정도로 치수 단계에서 유령목으로 자라나는 동안의 생존율은 낮았다. 지속적인 천연갱신과 연간 약 0.6 cm의 직경생장율은 조사 지역의 환경이 전나무 서식에 비교적 적합한 지역임을 나타낸다. 또한 전나무 임분은 향후에도 지속적으로 유지될 것으로 보여 내음성 수종인 전나무를 대상으로 한 택벌림 경영의 가능성을 제시해주고 있다.

• 대한수학교육학회지:학교수학
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• 제13권4호
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• pp.651-674
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• 2011

함수적 사고는 학교 수학에서 가장 중요한 주제이고 함수적 사고 지도의 목적은 학생들의 함수적 사고를 향상시키는 것이라고 할 때 초등학교에서 함수적 사고를 지도한다는 것은 함수적 사고의 속성인 지정과 종속의 연관이 내재된 현상을 의미하는 함수적 사고이다. 함수적 사고를 습득했는지에 대한 평가 방법은 함수적 사고의 지도를 통해 학생들이 함수적 사고를 한다고 판단할 수 있는 학생들의 활동이다. 이를 위해서 교사는 함수적 속성을 갖는 타 교과의 내용과 관련된 함수적 상황의 형태의 전형적인 예(paradigm)을 제공하고, 적절한 발문을 통해 안내해야 한다. 본 연구의 목적은 타 교과와 연결된 상황 설정을 통한 함수적 사고의 지도 방안을 구안하고 적용하여 보다 발전된 지도 방안을 모색하는 것이다. 이를 위해 본 연구에서 제안하는 지도 방안은 함수적 상황의 준비단계, 적용단계, 반성단계의 3단계로 구성되며, 각 단계에서 지도해야 할 방안들을 제안하고자 한다.

• 수산해양기술연구
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• 제20권2호
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• pp.83-90
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• 1984

동지나해에 있어서 고등어류 어획량 즉 자원량 변동에 따른 어장분포범위의 변동상태를 파악함과 동시에 이에 따른 환경변화와의 관계를 조사하였다. 어획자료는 일본국 농림성조사부 및 국립수산진흥원의 해구별 선망어획량 통계자료를 사용하였다. 이중에서 어획량이 적었던 1968년, 가장 많았던 1974년과 그 후 다시 적어졌던 1980년에 대하여 어획량을 계절별로 집계하여 분석하였다. 해양관측자료는 일본기상청과 국립수산진흥원의 자료를 사용하였다. 그 결과, 고등어류 어장분포는 어느 계절이나 3개년 모두 동지나해 중앙부를 중심으로 북동부와 남서부로 분리되었다. 또한 동계와 춘계에는 쿠로시오역 내측에 폭이 좁은 띠모양[대상]의 어장이 형성되었다. 어군의 북상시기인 하계와 남하시기인 동계에는 한국연안과 쓰시마난류역을 따라서 어장이 형성되었다. 어장분산은 하계가 제일 크고 춘계가 가장 적었으며, 누년 큰 변동이 없었으나 자원량이 많았던 1974년 이후인 1980년이 가장 컸다. 어장의 집중과 분산은 수온약층과 수온의 수평기울기의 크기와 관련이 있었다.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 한국조경학회지
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• 제35권4호
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• pp.90-104
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• 2007

Landmarks like high-rise building are one of the important elements for the enhancement of city identity and provides the hierarchy of city streets, playing a central and symbolic role in cities. Research on physical attribute of landmarks, such as height, distance, location and shape, which are suitable for a city scale, can help a city create a distinct image and maintain comprehensible structure. To achieve this purpose, it is necessary to understand the spatial and cognitive characteristics of a landmark for the establishment and management of it. The results of this study can be summarized as follows: 1. The level of representativeness of a landmark increases in proportion to the degree of cognitive intensity on it. The relation between representativeness and cognitive intensity can be explained as the log-function as follows: Log(the number of people who respond "It has representativeness")=$-1.2579+1.5908{\times}$(cognitive intensity); 2. There are a few differences based on the attributes of respondents: while gender has no distinct influence, residential period and age show statistically meaningful influence on cognitive intensity of a vertical landmark Cognitive intensity of an individual landmarks especially, differs according to the class of main users. Because of frequent changes in occupation or employment, respondents consider the distance from a residential area more important than the distance from a working area in evaluating cognitive intensity of landmarks; 3. landmark can be classified into two kinds: a district landmark and an urban landmark A district landmark is closely connected with physical attributes of the landmark itself, such as distance, size and height. An urban landmark is mainly related to cognitive attributes such as the image and identity of a city as a whole. As a result, the landmark analysis data in this research provides spatial order and identity in a city. It is difficult to establish and reinforce the image of a city as a single element ike a landmark. However, withy steady follow-up research, this study could be seen as a systematic and logical model to improve urban landscape and image.

• 공학교육연구
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• 제6권1호
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• pp.22-31
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• 2003

공업계 고등학교의 교과서인 전자 회로 실습에 기술되어 있는 8051 마이크로프로세서 단원을 중심으로 CD-ROM을 개발하기 위한 본 연구는 교과서 내용의 설명에 치우치기 쉽고 학급에서 수준 차가 있는 학생들을 대상으로 하는 교수-학습의 어려움을 극복하고, 학생들에게 교과서 내용을 중심으로 멀티미디어를 활용한 자기 주도적인 보충학습의 기회를 제공함으로써 기초학력이 부족한 공업계 고등학교 학생들의 학업 성취도를 높이는데 그 목적이 있다. 이 연구의 목적을 달성하기 위하여 $\ulcorner$문헌 연구$\lrcorner$ $\ulcorner$연구교과서 및 자료 수집$\lrcorner$ $\ulcorner$CD-ROM제작$\lrcorner$의 과정을 거쳐 순차적으로 연구가 수행되었다. 각 단계별 연구 내용은 다음과 같다. 첫째, 문헌연구를 통해서 멀티미디어의 개념 및 특징, 수업에 활용 사례 등에 대해 고찰하였다. 둘째, 교과서 및 자료 수집에서는 8051 마이크로프로세서 단원을 중심으로 교과서를 분석하고 주요 내용을 추출하였고, 그래픽, 사운드, 애니메이션 등은 직접 제작하였다. 셋째, 기본 학습주제를 8개의 영역으로 구성하였고, 체계적인 학습 흐름이 될 수 있도록 제작하였다. 이상의 연구에서 전자 회로 실습 교과서의 8051 마이크로프로세서 단원을 중심으로 CD-ROM을 개발하여 교수-학습 자료로서 하나의 유형을 제시하였으며 이러한 학습 보조 자료는 기초 학습 능력이 대체로 부족한 공업계 학생들의 학습 활동에 다양한 형태로 도움을 줄 수 있을 것으로 기대된다.

• 건축역사연구
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• 제15권4호
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 대한간호학회지
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• 제29권1호
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• pp.139-149
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• 1999

It is very important to establish precisely the historical phases of nursing. We nurses should try to acquire the central social position in the health management system in the near the future, the 21st Century. Therefore my treatise aims to orient the desirable phases of the history of nursing through the feministic survey of the history of nursing from the post medieval epoche to the modern epoche. During the time of the renaissance which gave morning light to the modern epoche, the antique Athenian thinking of sex was again revived. Athenian excluded the women from the public and autonomous regions. All the medical activity, once dominated by the women, was misfortunately regarded as superstition acted by witches. Accordingly, the nursing women were to hunted as witches. In short, in the early modern epoche, women began to be excluded from the history of medical activities. In the middle modern epoche characterized by the enlightenment movement and early capital economic system, capitalistic patriarchal system began to be formed by change in the economic system. The status of women began to be greatly dropped below by the social distinction of the private dimension of home and the Public dimension of job. The woman was deprived of even the occasion to get the official license of medicine and medical institutions were handed to the state or the powerful and rich merchants. Accordingly, nursing acted mainly in the nunnery as the total approach to the patients was destructed wholly and transformed into the means of earning the money. Therefore unprepared low class -women began to engage in nursing only for the money. From then on, nursing activity was tunneled through the dark age for 200 years. In the late modern epoche characterized by the contrast of the accumulated vast capital by industrialization and vast poverty of the peoples, feminism began to float over the surface for the acquisition of equality of men and women from England. A feminist, Nightingale insisted that the women as nurses should be responsible for the healthy life of man. She tried the professional nursing education for women. Accordingly she not only contributed to the intellectual progress of women but also inspired in women the consciousness of the professional job. She tried to realize the ideal of at-that-time-feminists by engaging in nursing all through life. She really paved the road to contemporary nursing. In the near the future, I will write to describe how the late modern epoche nursing has fallen into the dilemma through the 1st and 2nd world wars and matured capitalism and to consider contemporary nursing with the status of women. All these papers aim to give proper recognition of nursing and right orientation of the future 21st Century nursing.

• 한국콘텐츠학회논문지
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• 제13권9호
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• pp.504-514
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• 2013

본 연구는 인천 소재 G 대학 간호학생을 대상으로 e.learning기본간호실습 콘텐츠를 이용한 자기주도 학습을 했을 때 지식, 자신감과 교육만족도에 미치는 효과를 파악하고자 시도되었다. 비동등성 대조군 전후 실험설계로 연구대상은 실험군 31명, 대조군 32명, 총 63명의 1학년 간호학생이었고, 연구기간은 2011년 9월 1일부터 11월 30일까지였다. 중재 기간 2주 동안 실험군에게는 기존의 강의 중심의 전통적 실습교육과 더불어 e-learning기본간호실습 콘텐츠를 이용한 자기주도학습(Mosby's Nursing Skills 중 피부와 점막의 투약, 수혈 및 중심정맥관 간호에 관한 9개 항목)을 주 3회 이상씩 총 120분 이상 제공하였으며, 대조군에게는 전통적 실습 교육만을 제공하였다. 연구결과 실험군은 대조군에 비해 지식과 교육만족도가 증가되었으나 유의한 차이는 없었고, 자신감은 유의하게 향상되는 것으로 나타났다. 따라서 피부와 점막의 투약, 수혈 및 중심정맥관 간호의 기본간호 실습에서 전통적인 실습과 함께 e-learning기본간호실습 콘텐츠를 이용한 자기주도학습은 간호학생의 기본간호 술기에 대한 자신감을 향상시키는 효율적인 교수학습 전략이 될 수 있다.

• 영미문화
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• 제18권4호
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• pp.103-137
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• 2018

Harold Pinter's One for the Road(1984) is a play about violence. Nicholas, who appears to be the manager of a place, interrogates Victor, Nicky, and Victor's wife Gila in a room for one day from morning to night. There is no direct physical violence in this play. But hints about the atrocities that took place outside the stage make the audience guess the violence and cruelty. Violence, which is not seen as such, is the central theme of the play. One for the road is worth reading as a resistance to breaking the mirror of global ideology, not as it deals with violent events confined to Turkey. The problem which Pinter had in mind, in particular, is that the United States plays a leading role in producing world-class ideologies, and that Britain is involved in collusion with the United States in cultivating such ideological fantasies, both abroad and at home. This thesis analyzes the contrasting reactions of each character in the play based on this social context. In particular, the conflicting reactions of the characters on the system are the most important conflict in the drama. Nicolas is a manager who moves on the system without seeing the truth. Victor and his family, on the other hand, do not move within the same ideology as Nicholas. This paper will take a look at what their strategies of resistance is and how they are revealed in the work. In fact, Nicholas appears split. Nicholas seemingly reacted decisively to the interpellation of the system. He expresses his belief and respect for the legitimacy of his actions. However, he has repeatedly sought the respect and love of Victor. Nicholas is now swaying. The theme that Nicholas presents consciously by grabbing at his own sway is 'Patriotism.' But this fantasy splits through Victor's silence and death demands. Therefore, the questions to be answered are: So why does Nicolas appear to be torn apart in a system that directs violence? But why is he forced to assimilate into the system? What other figures imply? To answer these questions, this thesis will take Slavoj Zizek's view of ideology. On the other hand, there are previous studies that read the system of violence in One for the road from the Althusser's perspective. Surely, this play explores the role of Ideological State Apparatus. However, from the point of view of Althusser, it is not possible to read Nicholas's division and the point of resistance seen by Victor's family. Pinter does not limit the scope of the ideological system as a closed one that regenerates ideologies, but secures the domain of main body resistance and struggle. On the other hand, there are already several domestic theses that read Pinter's work in Zizek's perspective. But these theses are mainly focused on analysis of Mountain Language. What this thesis would suggest is that there is a potential for an ethical figure of Zizek to be considered in One for the Road.