입원 암환자의 질병상태 및 건강상태지각과 건강통제위가 희망에 미치는 영항

이미옥 충남대학교 간호과학연구소 2004 충남대 간호학술지 Vol.7 No.1

Purpose :This study was attempt to identify the predicting variables (perceived illness status, perceived health status and health locus of control)of hope of patients of cancer in hospital. Method : The survey was performed from March. 5th to April. 1st, 2003 at two general hospitals in Deajeon, Seoul. Fifty-six patients of cancer completed questionnaires-demographic informations. Kim & Lee Hope Scale(1998), MHLC, Visual analogue scales of l0cm. The results were analyzed by a SPSSWIN 10.0 program(descriptive statistics, l-sample K-S, ANOVA and Linear regression). Result : There were no statistical differences in demographic informations. The hope score was 4.72±.60, above the middle(6 point scale), perceived health status was 4.24±2.95, below the middle(10 point scale), perceived illness status was 3.58±.2.53, below the middle (10 point scale), IHLC(internal locus of control) was 4.21±.76, above the middle(5 point scale), POHLC(powerful other health locus of control) was 3.71 ±.79 and CHLC(chance health locus of control) was 3.04±1.04. The perceived health status was d significant predictor of hope of patients of cancer in hospital(β=.278, r²=.077. p=.038). Conclusion : Patient with cancer in hospital had a high level of hope, IHLC(internal locus of control), POHLC(powerful other health locus of control) and CHLC(chance health locus of control). But they perceived their health status lower than the scale's middle score. And they perceived their illness more seriously than the scale's middle score. Perceived health status was a predicting factor on hope of patients with cancer in hospital.

영화 <헤어질 결심>에 나타난 시각적 표상 연구 - 라캉의 정신분석학적 접근을 중심으로 -

이미옥,안상혁 한국상품문화디자인학회 2022 상품문화디자인학연구 Vol.71 No.-

박찬욱 감독의 2022년 발표작 <헤어질 결심>은 두 남녀 주인공 해준과 서래의 의식과 무의식의 경계를 넘나들며 인물들의심리 및 관계의 변화를 디테일하게 묘사해 낸 작품이다. 영화 <헤어질 결심>은 인간의 욕망과 인간의 존재적 결핍이 해소되고, 그 주체성이 정립되어 가는 과정을 정반합적인 구조로 영상화하였다. 본 논문은 영화 <헤어질 결심>에 나타난 본질적인 문제인 인간 존재의 소외와 결핍에 착안하여 라캉이 정립한 정신분석학적 이론에 따른 실재계, 상상계, 상징계의 모습들을 다양한 시각적 표상을 통해 어떻게 표현되었는지에 대해 사례분석 부분에서 자세하게 알아보고자 한다. 또한 영화에서 나타난 다양한 시각적 표상을 통해 이러한 인간의 욕망, 인간의 존재 결핍의 문제가 이 영화에서 어떻게 구체화되었는지 고찰하고자 하였다. 연구 결과, 영화 <헤어질 결심>에서는 이상적 삶 속에 인지하지 못하는 혼돈이 혼재하는 ‘실재계’, 살인 증거 발견으로 인해 형사 해준이의 완전히 붕괴되는 즉, ‘실이상(失理想)’에서 ‘자아’에 대해 좌절하는 ‘상상계’, 그리고 ‘복이상(復理想)’에서의 ‘주체’의 탄생을 의미하는 ‘상징계’, 즉 서래의 죽음은 실재계 속 보다 근본적 쾌감인 주이상스(Jouissance)를 죽음의 형태로 표출하며, 실재계가 낯선 현실이자 성취 불가능한 이상향임을 입증하고 있다. 이러한 ‘헤어질결심’은 영화 엔딩 부분에서 서래가 해준에게는 일종의 모순인 스스로를 파괴하는 과정으로 이어지고, 이를 통해 서래가본인이 사랑하고, 또한 본인을 사랑하는 해준의 실재계의 질서가 와해되는 것을 스스로의 소멸을 통해 막으려 했다는 점을알 수 있다. 영화 속에 나타난 여러가지 표상들을 단일 이론을 통해 온전하게 해석해내는 것은 어떤 면에서는 저자의 지나친 욕심일지도 모른다. 저자는 본 연구를 통하여 기존 연구를 통해 충분히 논의되지 못한 영상 및 시각 예술 작품에 라캉의정신분석이론을 적용하여 해석하고자 노력을 기울였으며, 이러한 노력이 후속 연구들에 미약하게나마 자양분이 될 수 있기를 바란다.

간호교육에 있어서 창의적인 대학실습실의 이용에 관한 고찰

이미옥 대한간호협회 1985 대한간호 Vol.24 No.4

중장년층 및 노년층의 예방적 치석제거 건강보험적용 시작 시기와 5년 후 치주조직상태에 미치는 영향 요인

이미옥,이은주 보건의료산업학회 2020 보건의료산업학회지 Vol.14 No.4

Objectives: The study aimed to compare the periodontal tissue status in middle-aged and elderly people before and after scaling health insurance coverage, using data from the 2013 and 2018 National Health and Nutrition Examination Surveys. Methods: Data were analyzed using IBM SPSS version 24.0 (IBM Co., Armonk, NY, USA). A total of 5,109 people were included in the study, including 2,593 persons from 2013 and 2,516 from 2018, whose insurance was scaled according to the following age groups: 40~64 years and 65 years or older. Results: The factors affecting the periodontal tissue status of the middle-aged and the elderly from the time when insurance began to cover tartar removal (a method of preventing and treating periodontal disease) differed significantly after five years. Conclusions: It is necessary to establish measures to improve access to oral health education for the prevention and treatment of periodontal diseases in the middle-aged and elderly population.

내 삶의 은인~ 필드하키

이미옥 한국코칭능력개발원 2006 Coach Vol.22 No.3

월동 준비

이미옥 우리신학연구소 2009 갈라진 시대의 기쁜소식 Vol.- No.907

Gum을 이용한 저열량 마요네즈의 제조 및 유화안정성

이미옥 영산대학교 2002 영산논총 Vol.9 No.-

In preliminary studies to determine the kinds of fat replacers for the low calorie mayonnaise, sodium alginate, guar gum and, xanthan gum had high viscosity and stability at acidic pH and high temperature. To determine the level of gums which stabilize the emulsion and keep the rheology of low calorie mayonnaise, low calorie mayonnaise with various levels of oils and gums were made. As a result, it was turned out that addition of 1.2% of sodium alginate, 1.2% of guar gum, 1.0% and 1.2% xanthan gum to low calorie mayonnaise with 40% of oils showed similar viscosity, turbidity and degree of oil separation to those of reference mayonnaise.

베트남 현지인들의 한식에 대한 인지도, 이미지, 선호도, 선택속성, 만족도 및 재이용 의도

이미옥 한국식생활문화학회 2017 韓國食生活文化學會誌 Vol.32 No.6

This study surveyed the recognition, image, preference, attributes, satisfaction and revisit intention for Korean food of local Vietnamese to facilitate the globalization of Korean food. Most participants had recognized Korean food. and, they were especially aware of kimchi (김치), bulgogi (불고기) and bibimbab (비빔밥), Additionally, most repondents thought these foods represent Korean traditions and culture very well. The image of local Vietnamese for Korean food was good. Which was reflected in Korean food having “a good reputation” and a high possibility for “globalization” were high. This study also investigated 16 kinds of Korean food and found the highest preferences to be for bulgogi (불고기), followed by galbitang (갈비탕), whereas that for doenjangchigae (된장찌개) was lowest. Some of the top choice attributes of Vietnamese for Korean food were found to be in “because it is ‘colorful’, ‘prepared sincerely’, ‘plated neatly’, ‘fresh’ and ‘comes with a variety of banchans (side dishes). This is a very meaningful result, making this an important reference for the globalization of Korean food. The local Vietnamese had high satisfaction and reuse intention degree for Korean food, and especially high satisfaction with the colorfulness of Korean food. In addition, the local Vietnamese showed a very high revisit intention for Korean food.

채만식과 라오서(老舍) 소설에 나타난 매독 서사와 알레고리 비교 연구

이미옥 동북아시아문화학회 2023 동북아 문화연구 Vol.1 No.74

This study compares Chae Man-sik’s Takryu and Lao Seo’s The Crescent because the two novels not only reflect the aspects of the 1930’s when red-light districts and prostitution were prevalent with the motif of syphilis (sexual disease) but also have allegorical meaning in that the source of infection is huge capital that is invisible. The novels have one thing in common in that although syphilis is physical disease that personal and concealed, they both symbolize it as greed for ‘money’ resulted from the influx of modern capital, that is, absolute evil, resulting in the inevitable destruction and collapse of female subjects represented by the weak. Through comparison, three points have been derived as follows. Chobong, the main character of Takryu and ‘I’ in The Crescent were both born with the fate of having no choice but to trade themselves for money. The first is the fall of fathers, and the second is their beautiful faces. If this is interpreted allegorically, it corresponds to the situations that Korea lost its sovereignty and China was exploited by the war of aggression. The second is that syphilis in both novels is used as a symbol of greed for money and decadence. In Takryu , it is spread by a character named Taesu, and in The Crescent , it is spread by an unspecified number of men. In the process of prostitution, both Chobong and I became victims getting infected by that; thus, it can be seen as an unfair trade. The third is the emergence of evil which is the source of infection. In Takryu , character named Hyeongbo engaged in exploitation, deprivation, and violent behavior over Chobong restlessly while in The Crescent , the subjects of evil are ‘high-birth aristocrats’ who are the officials exploiting the people in a dualistic manner. They are both provided with social meaning as a symbol of absolute evil that extorts the weak rather than a specific individual.

‘보기’-감각을 통해 이루어진 김수영과 꾸청의 ‘참여 의식’ 비교

이미옥 동북아시아문화학회 2015 동북아 문화연구 Vol.1 No.44

The purpose of this study is to compare Kim Su-young with Gu cheng, a Chinese poet representing modernism, and lay the ground to compare the two in several aspects. First, they faced a similar background of society. After ‘4․19’ in Korea and ‘the Cultural Revolution’ in China, the two nations had different systems as capitalism and socialism each; however, only the names were different, but both were under dictatorship. It made the poets’ consciousness of participation rise to describe reality. Second, aside from that background of society, the two poets transcended the borders of genres or concepts like ‘realism’ or ‘modernism’ with their critical view and realized ontological ‘participation’ already. They were more faithful to their own awareness of reality as well as poetic sense, and with this keen sense of criticism, they realized aesthetics in the poetry of participation. Kim Su-young deems that the true poetry of participation is not about the theoretical concept in which ‘the poetry of participation’ has originated from but the substantiality itself which is already internalized in unconsciousness. In other words, he sees that the true aspect of the poetry of participation is not the ideology as a concept preceding political ideology but what does not even have to be defined as a genre with the behavior itself. Gu cheng also did not separate politics from aesthetics and saw ‘the consciousness of participation’ was one of the prerequisites. When it comes to beautiful poems, he says aestheticity is not the only condition but participation for the sake of ‘participation’ is not the goal, either. He thinks that aesthetics is a preceding condition in the relations between politics and aesthetics but political consciousness is also essential and the combination of them forms the power to change the world. Writing the poems of participation combined with aesthetics, both Kim Su-young and Gu cheng stuck to ‘seeing’, and here ‘seeing’ implies a lot of things. It is not mere ‘seeing’ but the manifestation of subjective power involved in rebuilding the world. Also, the view they sees is what gets to be reconstructed by being dismantled and turned over under the internal criteria not just remaining hidden, and it is the most essential prerequisite for participation.