[P5-42] Et-OH 인삼농축액의 분획 용매에 따른 항균효과

손현정,한민수,구본재,류기형 한국식품영양과학회 2008 한국식품영양과학회 학술대회발표집 Vol.2008 No.10

시간 접속사와 사건 시간 의미 주석

손현정 한국프랑스학회 2009 한국프랑스학논집 Vol.66 No.-

Les connecteurs temporels, par exemple quand, lorsque, puis, pendant que, etc., déterminent l'ordre temporel des événements décrits par les propositions dans la phrase complexe. Dans les discours, ils jouent un rôle important pour marquer explicitement le déroulement temporel des événements. C'est ainsi que L. de Saussure, dans le cadre de ses recherches en analyse discursive, les considère comme la ‘première source possible de détermination de l'ordre temporel’. Mais les connecteurs temporels suscitent encore peu d’intérêt dans le domaine de la recherche linguistique, comparés aux connecteurs argumentatifs mis en perspective en particulier par O. Ducrot. Les premiers sont d’ailleurs considérés comme un sous-ensemble particulier de ces derniers. Le présent travail vise à replacer l’étude des connecteurs temporels au centre des discussions linguistiques en insistant sur l'annotation sémantique des informations temporelles. Dans un premier temps, nous introduisons ISO-TimeML, un cadre formel pour l'annotation automatique des informations temporelles dans lequel nous représentons les informations sémantiques contenues dans les connecteurs temporels. Ensuite nous dressons les caractéristiques des connecteurs temporels par rapport aux autres connecteurs, notamment les connecteurs causaux et les connecteurs circonstanciels. Ce faisant, nous tentons de montrer que les informations temporelles fournies par ces derniers nécessitent l’intégration du processus d'inférence pour le calcul temporel des événements. A l’inverse, les indications fournies directement par les connecteurs temporels ne nécessitent aucune inférence supplémentaire au calcul temporel. A titre d’exemple, nous nous proposons de formaliser les informations temporelles contenues dans le connecteur 'lorsque' avec ISO-TimeML.

사건 분포 의미의 기술과 2차 술어 논리

손현정 한국프랑스학회 2008 한국프랑스학논집 Vol.64 No.-

'동안' 부사어의 의미 기능 연구

손현정 대한언어학회 2006 언어학 Vol.14 No.3

OTT 플랫폼 서비스의 광고형 저가 요금제 전환의도에 관한 연구

손현정 한국방송학회 2023 한국방송학회 학술대회 논문집 Vol.2023 No.11

유아 인성의 창의적 사고력 및 창의적 성향에 대한 관계

손현정,조현철 대한사고개발학회 2021 사고개발 Vol.17 No.2

This study aims to establish the structure of children’s characters and creative dispositions, and to examine the relations of these characters to creative thinking and dispositions. Based on a series of exploratory factor analyses of the data on a characters questionnaire (Cho, 2020), a 86 item questionnaire was developed and administered to 301 4 and 5 years old children in June 2020. And a 39 item creative dispositions questionnaire was developed through abstracting the most common elements proposed by 65 related prior articles, and administered to 200 5 years old children in November 2020 along with a creative thinking test. Confirmatory factor analyses verified 18 children’s character factors in 3 areas (person-, others-, and community-oriented) and 6 categories (self-management, character, social ability, pro-social ability, community-oriented awareness and community-oriented behavior), and 8 creative disposition factors including openness, task commitment, self-confidence, uniqueness, spontaneity, sensitivity, adventurous mind, and preference for complexity. A series of correlation analyses showed significant but weak positive relations of children’s character factors to creative thinking factors and disposition factors. The overall results do not show a support for the idea of the organic integration of characters and creativity in education, and suggest the educational efforts for creativity and character be made independently. 본 연구는 유아 인성과 창의적 성향의 요인을 확립하고, 창의·인성교육 맥락에서 양 변인 간 관계를 규명하고자 하는 목적을 가진다. 먼저, 96문항 검사지에 대한 3~5세 1,088명의 응답 결과(조현철, 2020)를 일련의 탐색적 요인분석한 결과, 3영역 6범주 18요인으로 구성되는 86문항의 유아인성 검사지를 개발하였다. 이 검사지를 2020년 6월 동안 전북 G, I, J시 소재 유아교육기관 원아 4세 101명과 5세 200명을 대상으로 실시하였다. 또한, 65편의 관련 선행 논문으로부터 공통된 요인을 추출하여 8요인 39문항의 유아 창의적 성향 검사를 작성하였다. 이 검사지와 “유아종합창의성검사”(전경원, 2000)를 2020년 11월 동안, G, I, J시 5세 유아 200명을 대상으로 실시하였다. 확인적 요인분석의 결과, 유아 인성은 “자아”와 “성품”의 개인지향영역과, “사회성”과 “친사회성”의 타인지향영역, 그리고 “공동체지향의식”과 “공동체지향행동”의 공동체지향영역을 구성하는 18요인의 다면적인 구조를 가지며, 유아 창의적 성향은 “개방성”, “과제집착력”, “자기신뢰감”, “독특성”, “자발성”, “민감성”, “모험성”, “복잡성의 선호” 등 8요인으로 구성되는 것으로 밝혀졌다. 유아 다면적 인성은 창의적 사고력 요인에 대해 유의하지만 약한 정적 상관관계를, 그리고 창의적 성향에 대해서는 비교적 약한 정도의 유의한 정적 상관관계를 보였다. 본 연구의 이러한 결과는, 창의성교육과 인성교육의 유기적 통합에 대한 지지를 보이지 않고 있으며, 창의성과 인성의 향상을 위한 교육적 노력이 각각의 초점을 분명히 하며 이루어져야 할 것을 시사하고 있다.

복합 담화 표지어 (et) donc du coup의 의미와 운율 분석

손현정 프랑스학회 2020 프랑스학연구 Vol.0 No.92

La présente étude a pour l’objectif de mettre en évidence les fonctions sémantiques et prosodiques du marqueur discursif complexe (MDC) (et) donc du coup. Dans un premier temps, nous montrons que de tous les MDC composés de donc inventoriés, donc du coup représente le MDC le plus employé à l’oral, d’après l’analyse des fréquences des MDC dans le corpus oral (Corpus de LAngue Parlée en Interaction) et le corpus écrit (Frantext). Dans un deuxième temps, nous tentons de mettre en évidence les fonctions sémantiques de (et) donc du coup dans le discours oral. L’observation des occurrences dans ce corpus révèle que le MDC enchaîne les énoncés selon une relation de causalité directe, ce qui corrobore les constatations formulées par Rossari et al. (2000). Mais la notre étude montre que l’enchaînement se réalise en prenant non seulement en considération le contenu propositionnel mais également la situation contextuelle ou les connaissances partagées. Enfin sur le plan de la prosodie, (et) donc du coup affiche une caractéristique remarquable : l’énoncé qui précède donc du coup s’achève presque systématiquement par une pause vide ou par une aspiration, ou encore par un allongement de la dernière syllabe du dernier mot de l’énoncé. 본 연구는 복합 담화 표지어(marqueur discursif complexe, MDC)인 donc du coup의 의미 기능과 운율적 특징을 분석하였다. donc du coup는 donc를 포함한 복합 담화 표지어(이하 donc 복합 담화 표지어) 가운데 구어성이 가장 높다. 본 연구에서는 CLAPI 구어 말뭉치에서 출현빈도가 높은 donc 복합 담화 표지어들을 추출한 뒤, 이들이 프랑텍스트 20세기 문어 말뭉치에서도 높은 출현빈도를 보이는지 분석하였다. 그 결과, donc voilà, donc du coup, donc en fait를 포함한 6개의 donc 복합 담화 표지어가 문어 담화보다 구어 담화에서 훨씬 더 자주 사용되는 것을 확인할 수 있었다. 본 연구에서는 구어성이 높은 복합 담화 표지어 가운데 donc du coup의 의미 기능과 운율적 특징을 규명하기 위하여 말뭉치 용례들을 분석하였다. 그 결과, donc du coup가 직접적 원인 관계causalité directe와 요약 기능recapitulation을 수행함을 확인할 수 있었으며, 또한 무음 휴지부pause vide와 숨 들이마시기aspiration, 음절 늘려 발음하기allongement 등의 운율적 현상을 수반한다는 사실을 확인하였다.

‘en + 시간명사’의 의미 기술

손현정 한국프랑스학회 2006 한국프랑스학논집 Vol.55 No.-

코로나19(COVID-19) 시기에 경험한 학교전문상담사의 감정노동에 관한 현상학적 연구

손현정,김장회 한국상담학회 2021 상담학연구 Vol.22 No.5

The purpose of this study was to explore the nature and meaning of emotional labor experienced by school counselors during the COVID-19 period using phenomenological qualitative research methods. To this end, in-depth interviews were conducted with 9 participants from elementary, middle, and high schools in C city. The data collected through the interview were analyzed according to Giorgi's phenomenological research method. As a result of the analysis, 5 components and 17 sub-components were derived. The components are as follows; ‘Pressure from excessive workload facing the disaster’, ‘Limits of frustration caused by not being able to express’, ‘Inner strategy to control emotion’, ‘Positive emotions experienced under the disaster’, and ‘Organizational understanding and support to prevent emotional burnout in disasters’. Based on the results, implications of this study and suggestions for follow-up studies were discussed along with ways for school counselors to minimize emotional dissonance in disaster situations and to prevent emotional burnout due to emotional labor. 본 연구의 목적은 현상학적 질적 연구방법을 사용하여 코로나19(COVID-19) 시기에 학교전문상담사들이 경험한 감정노동의 본질과 그 의미를 탐색해 보고자 하였다. 이를 위하여 C도시의 초․중․고등학교에서 상담하고 있는 학교전문상담사 9명을 대상으로 심층면담을 실시하였다. 면담을 통하여 수집된 자료는 Giorgi의 현상학적 연구방법에 따라 분석하였다. 분석 결과, 5개의 구성요소와 17개의 하위구성요소가 도출되었다. 구성요소는 ‘재난 속에서 마주하는 과중한 업무의 무게감’, ‘표현되지 못해 좌절되는 감정의 한계’, ‘감정을 다스리기 위한 내적 전략’, ‘재난 속에서 경험하는 긍정적 감정’, ‘재난 속에서 감정소진 예방을 위한 조직 차원의 이해와 지원’이다. 결과를 바탕으로 학교전문상담사들이 재난 상황에서 감정부조화를 최소화하고 감정노동으로 인한 감정소진을 예방할 방안 및 본 연구의 시사점 등과 함께 후속 연구에 대한 제언이 논의되었다.

터너의 색채 표현에 나타난 양극성 연구

孫賢貞 미술사연구회 2004 미술사연구 Vol.- No.18

This paper mainly deals with the characteristics of Joseph Mallord William Turner (1775~1851)'s use of colors, expecially in his later works. It is well known that Turner was deeply interested in optical effects and colors throughout his later period Therefore, most studies on Turner's paintings usually focus on a creative use of light and colors perfectly harmonized on his canvases, and understood Turner's light and colors as a "Romantic Revelation," "Emotional Empathy," or "Forerunner of Impressionism." However, I have found that Turner, particularly, in his later works, consciously experimented with the use of the polarity of colors m order to represent the contrasting subject matters in two companion works. Therefore, this article attempts to discuss anti-Newtonians' thought as one of the influential integrals to Turner's use of colors, and to understand it in relationship with the development of science during that period. In 1704, Isaac Newton published Opticks and discussed that all colors in the spectrum exist in white light Afterwards, many studies began to understand colors in relation to the sunlight. Opposed to Newton's and his followers' hypotheses, Johann Wolfgang van Goethe published a series of articles to argue that colors were not light, but entitles to be experienced in reality In 1810, Goethe published Farbenlehre and discussed that color could be both active and passive to light, and employed this concept as an inspiration for his literary works. Reminded in the image of a magnet, Goethe believed that a natural phenomenon had its own opposing poles like evil and good, and dark and light. This conception of "a pair of opposition" had been already referred in Stoicism, mysticism, magic and alchemy. To Goethe, this conception was both a kind of religion and a logical conclusion. In fact, the anti-Newtoman attitude was not Goethe's own particular Opinion, but rather was a sort of intellectual rebels commonly shared among philosophers during that period against the positivist and mechanistic philosophy that were developing toward a scientific and materialistic point of view throughout the eighteenth and nineteenth century Turner was also fascinated with this anti-Newtoman thought and became deeply indulged with It through the intellectual interactions with his contemporaries such as David Brewster, George Field, J D. Passavant and P J de Loutherbourg Although Turner had been familar with Goethe's theories, his anti-Newtoman attitude became more strengthened after reading Farbenlehre. In addition, the interactions with English scientists like Michael Feraday and Mary Somerville, and photographer J J. E. Mayall, gave him a strong conviction for the polarity of primitive light and dark. Goethe, in his Farbenlehre, perceived yellow and blue as primary colors coming from the two poles of light and dark. Then, according to the color circle, he classified red, yellow and green as plus colors, while blue, blue-green, and purple as minus colors. He characterized plus colors as action, light, brightness, force, warmth, proximity, repulsion, affinity with acids, while minus colors, as negation, shadow, darkness, weakness, coldness, distance, attraction, affinities with alkalis. Turner's works on which the polarities of colors are represented do not only display the contrast of colors, but also intentionally display their contrasting features mentioned in Goethe's Farbenlehre. I believe that it was established as one of Tuner's later stylistic elements. It is found that Turner's interest in light during the 1810s and 1820s developed into an interest in the contrast of light and dark. During 1828~31, his works show that he experimented with a polarity of colors. In 1830s, he contrasted merely yellow and blue, however, after 1840s, he experimented with a broader range of colors and contrasted plus colors such as orange and red with minus colors such as blue, navy and purple. In addition, Turner's works after 1840 share in common to have a octagonal form and circular composition. Such visual elements affirm that Turner intentionally represented the polarity of colors in his later works as I pointed out in this article I believe that this study will provide an opportunity to understand the originality in Tuner's use of colors, and to give a concrete idea about what is "a representation of the polarity of colors."