사망진단서(사체검안서) 상의 선행사인으로부터 사망통계의 원사인이 선정되는 비율 : 3개 대학병원에서 교부된 사망진단서를 중심으로

박우성,박석건,정철원,김우철,탁우택,김부연,서순원,김광환,서진숙,부유경 한국의료QA학회 2004 한국의료질향상학회지 Vol.11 No.1

Background : To exatnine the problems intolved in writing practice of death certificates, we cotnpated the determination of underlying cause of death for wital statistics using recorded underlying cause of death in issued death statistics. Methods : We collected 688 rnortality certificates issue in year of 2,000 from 3 university hospitals. And we also collected vital statistics from ministry of statistics. The causes of death were coded by experienced medical record wpecialists. And causes of death determined at ministry of statistics for national vita statistics were mapped to causes of death recorded at each death certificates. The rate that underlying causes of death for vital statistics were derived from underlying causes of death recorded at issued death certificaties sere analysed. Results : 64.5% of underlying cause of death for could be derived from underlying cause of death recorded at issued death certificates, 8.6% derived from intermediate cause of death, and 3.9% derived from direct cause of death. In 23% of cases, underlying cause of death could not be derived using issued death certificates. The rate that underlying cause of death for vital statistics could be derived from underlying cause of death recorded at death certificates was different between 3 university hospitals. Ane the rate was also different between death certificates and postmortem certificates. We classified the causes of death using 21 major categories. The rate was different between diseases or conditions tha caused death too. Conclusion : When we examined the correctness of death certificate writing practice using abpve methods, cortectness of writing could not be told as satisfactory. There was difference in correctness of writing between hospotals, between death certificates and postmortem certificates, and between diseases and conditions that caused death. With this results, we suggested some strategy to improve the correctness of death certificate writing practice.

From Paha Sapa to Hometree: The Romanticized American Frontier of James Cameron`s Avatar and the Reproduction of Historical Amnesia

( Kyung Sook Boo ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

Both high and popular culture have continuously encouraged the American public to romanticize the frontier as a place of exploration, redemption, and quintessential American self-making as well as to regard space as such a frontier. James Cameron`s 2009 film, Avatar, is located firmly within that tradition, setting its imperialistic narrative of invasion for commercial gain, complete with the subplot of ethnographic exploration in the name of science, on the fictional planet of Pandora in the futuristic year of 2154 as a new frontier for America. Cameron`s narrative, however, structured around the “going native” and intercultural romance themes, is in fact a retelling of the battle over Paha Sapa during the Black Hills gold rush in the 1870s, culminating in the Battle of the Little Bighorn, and a retelling of Kevin Costner`s Dances with Wolves, Disney`s Pocahontas, or Marcus Nispel`s The Pathfinder. Cameron insists that while Avatar does implicitly criticize America`s role in the Iraq War and that Americans do have a “moral responsibility” to understand the impact of their nation`s military campaigns, that “that`s not what the movie`s about-that`s only a minor part of it” and that the film is about how we interact with nature and other human beings, and how we are “trashing our world and maybe condemning ourselves to a grim future”; Cameron does not acknowledge the parallels between his film`s plot and Native American history. This essay interrogates Cameron`s claims about the film`s central message and of its proclaimed progressiveness, and by offering a reading of the film that refuses to ignore the unacknowledged mix-matched historical context of the plot and that also exposes how Jake Sully`s “redemption” presents a much more colonial and imperialistic narrative than that of John Dunbar`s, John Smith`s, or Ghost`s, seeks to situate it within the myth of the romanticized frontier and identify it as an uncritical reproduction of the ideology at the center of such romanticization. Further, this essay discusses the implications and ramifications of both the public`s and the director`s inability to recognize such ideological reproduction, and of the impact of such narratives being misrepresented as progressive on the basis of innovative film technology or environmentalist concerns.

Tracing the Chiasmic Tracks of Louise Erdrich`s Omakayas and Laura Ingalls Wilder

( Kyung Sook Boo ) 한국영미문화학회 2011 영미문화 Vol.11 No.2

Native American writer Louise Erdrich`s recent series for young readers, The Birchbark House (2002), The Game of Silence (2006), and The Porcupine Year (2008), follow the footsteps of a young Ojibwe girl, Omakayas, from age 7 to 12 during the mid-19th Century, as she and her family are dislocated and forced westward by white settlers. This paper reads Erdrich`s relatively new “Birchbark House series” against Laura Ingalls Wilder`s widely popularized and canonized “Little House series” in order to critique the myth of the frontier that presents Manifest Destiny as an unbroken linear movement of progress into an empty virgin land. Rather than focus on comparison of the two series, this paper contextualizes Erdrich`s series with John Gast`s 1872 painting, American Progress, Laura Ingalls Wilder`s autobiographical series as well as the televised version of Wilder`s books (Little House on the Prairie, NBC,1974-1983), landed television Westerns such as Bonanza, and contemporary popular culture texts such as AMC`s 2006 miniseries, Broken Trail to show that Erdrich is not simply presenting a revisionist version of Wilder`s series but is participating in a larger ongoing dialogue about historical narratives and the construction of American identity through literature and culture. Further, this paper argues that Erdrich`s series simultaneously reveals gaps in national narratives and sutures narrative breaks by participating in intertextual conversations that restore diverse and multilayered narratives hitherto silenced and erased from the American master narrative, resurrecting the American West as the complex, global and glocal convergence space it historically was from the simplified and mummified myth of a clearcut frontier dependent upon the assumption of progress as unilateral westward movement and conceptualization of the American West as an empty virgin land.

John Wayne`s Teeth and George Washington`s Nose: Native American Resistance to Silencing and Erasure in Smoke Signals and Skins

Kyung Sook Boo 한국영미문화학회 2009 영미문화 Vol.9 No.2

Smoke Signals, directed by Chris Eyre, is the first feature film written, directed, and coproduced by Native Americans to have been distributed commercially by a major studio; it won the Audience Award and the Filmmaker`s Trophy at the Sundance Film Festival in 1998. The screenplay for this film was written by Sherman Alexie, a Native American writer who is very much invested in interrogating the extent to which the media and cultural stereotypes affect our construction of identity and self-understanding. In Smoke Signals, Alexie exposes the extent to which young Native Americans` self-perceptions continue to be influenced by mainstream media representations of Indians as monosyllabic barbaric/noble savages, and proposes a mode of resistance to stereotyping, silencing and erasure that utilizes and subverts the power of the media. By creating a hybrid narrative that merges traditional native form with contemporary U.S. cultural content in Victor`s chant about John Wayne`s teeth, Alexie, via Smoke Signals, suggests a way for Native Americans to enact resistance to historical silencing while also participating in modern American culture and life in a complementary manner. Skins, Chris Eyre`s second film, continues the historical resistance of Smoke Signals through striking images that probe into the collective historical amnesia America seems to suffer when it comes to Native America by focusing on the history of the Black Hills and Mount Rushmore. Sherman Alexie and Chris Eyre bring to the screen real Indians--not the Indians of Westerns or those caricatured in popular culture like sports mascots--living real everyday lives in America, being influenced by popular culture representations of Native America but refusing to silently accept those stereotypes in Smoke Signals and Skins, and pave the way for Native Americans to emerge as stars and not extras in, as well as writers and directors of, both American film and citizenship.

Profiling the Duke and Tonto

Kyung-Sook Boo 한국영미문학교육학회 2009 영미문학교육 Vol.13 No.1

Teaching Native American literature at the university level in Korea presents challenges quite different from those generally encountered when teaching the same material to U.S. college students. In U.S. college classrooms, the first and foremost challenge is getting students to recognize and acknowledge the preconceptions, biases, and stereotypes they have absorbed and normalized from the larger culture; however, in Korea, a lack of knowledge in general about the history, culture, and representations of Native Americans creates a socio-cultural vacuum in which one must try to guide students to understanding of the contextual frameworks and intertextuality of Native American works in order to situate close readings of the texts themselves more meaningfully. How does one teach students to deconstruct stereotypes when they don’t have any knowledge of those stereotypes? How does one teach students to appreciate the engagement of Native American writers with the history of representation in U.S. high and popular culture when they are not aware of either the traditional history or those representations? This paper examines these questions, and suggests the strategy of cultural profiling as a critical and productive approach to the instruction of Native American literature in such a cultural vacuum. Further, this paper suggests that instruction of Native American texts can provide an effective approach to helping students examine larger issues of the canon and the negotiations between categories such as mainstream and marginalized or dominant and emergent.

Hidden Figures: Structural Discrimination Hidden Behind Exceptional Figures

Kyung-Sook Boo 한국아메리카학회 2017 美國學論集 Vol.49 No.2

Hidden Figures tells the hitherto little known story of African American female mathematicians who worked at NASA in the 1960s during the Cold War space race between the U.S. and Russia(U.S.S.R). The film was generally well received from the public, critics, and educators in the U.S., who focused on how it addresses the erasure of the accomplishments of women and POC from mainstream U.S. history. Critical responses examined how the film failed to break out of the usual Hollywood dependence upon white male savior figures even when claiming to tell the stories of women and POC. This essay takes a different approach to the film, and argues that rather than differentiate the main characters according to race or gender that Hidden Figures presents them as exceptional figures, embodying American exceptionalism. Further, this essay interrogates how this framing of the central characters as exceptional individuals invites viewers to approach issues of systemic and structural discrimination as individual situations, and as a consequence, contributes to continuing the legacy of Jim Crow.

Ride Off Into the Sun: The Cowboy as the New Vanishing American in Cormac McCarthy`s All the Pretty Horses

( Kyung Sook Boo ) 한국아메리카학회 2007 美國學論集 Vol.39 No.1

Interstitial Negotiations of Identity in Heinz Insu Fenkl`s Memories of My Ghost Brother

( Kyung Sook Boo ) 미국소설학회(구 한국호손학회) 2013 미국소설 Vol.20 No.3

Heinz Insu Fenkl`s autobiographical novel, Memories of My Ghost Brother, while set entirely in Korea, is ultimately a novel about America, interrogating conventional definitions of Americanness as well as the role of race, ethnicity, and choice in the construction and acknowledgement of American identity. The protagonist Insu`s sense of self is threatened not only because his legal U.S. citizenship and his cultural Korean citizenship are each associated with different nations but also because they each signify racialized representations of national identity constructed in the interstices of gijichon and U.S. army bases, showing how racial and cultural coding of identity have been used to police membership in the nation. Memories of My Ghost Brother shows how cultural rather than legal racial marking of non-white Americans has emerged in the post-1965 era as the predominant means of restricting access to full American citizenship. Negotiating through interstices that are related and often overlap, Insu`s Korean cultural citizenship helps him preserve his sense of self against the fracturing pressures of American racism that work to use his lack of access to American cultural citizenship as a means of denying his Americanness in spite of his legal citizenship, and show how transnational constructions of identity are not only empowering but also necessitated by American history. It is the fact that interstitial Insu/Heinz is Korean American that makes his adherence to a Korean identity all the more necessary and crucial to his preservation of self in an American context unwilling to acknowledge that he is indeed an American. Memories of My Ghost Brother demonstrates how American engagement in the geopolitical sphere of Asia has created multilayers of interstices and multiple points of reference in the definition of national identity as well as necessitating multilateral negotiations of cultural, ethnic, racial, and national identities for Americans of Asian descent. Specifically, this novel shows how the protagonist Insu`s legal citizenship and cultural citizenship not only differ, but also respectively represent racialized notions of national identity that have been constructed in the overlapping interstices of nations, necessitating transnational, interstitial, and inter-racial negotiations of identity.

Making Indians by Making It Our Business in Frances Washburn`s Elsie`s Business

( Kyung Sook Boo ) 한국현대영미소설학회 2011 현대영미소설 Vol.18 No.2

Frances Washburn`s novel, Elsie`s Business, seems to be a mystery novel at first glance. However, closer inspection reveals that the true project of the narrative is not to give factual answers about who murdered Elsie or who the father of her baby is or where her second child is, but what it means for Elsie`s father to claim her as his daughter, and in the process, become claimed by the Native American community represented by Oscar. Elsie`s business, or rather, legacy, becomes bringing her father into the family, and it is Oscar who makes Elsie`s father into an Indian by talking about Elsie to him. By regarding Elsie`s father as part of the family, and naming him as such, Oscar opens the way for Elsie`s father to also become Native American, regardless of his racial identity as an African American; the blood relationship of father-daughter coupled with the cultural initiation performed through Oscar`s narrative creates and legitimizes a Native American identity for Elsie`s father, who does not have "Indian blood" per se. Further, it is suggested that the readers of the novel as audience to both the narrative and Oscar`s education of Elsie`s father can also become Indian regardless of their respective racial and ethnic identities through the identification achieved via the interpellation of the conflated "you" of Washburn`s narrative, presenting a reconceptualization of Indian identity that rejects racial origins and privileges cultural performance, personal relationships, and affiliations.

Sherman Alexie and the War on Diversity in U.S. Young Adult Literature

( Kyung-sook Boo ) 한국현대영미소설학회 2017 현대영미소설 Vol.24 No.1

Sherman Alexie`s multiple award winning 2007 young adult novel, The Absolutely True Diary of a Part-Time Indian was the second most frequently challenged novel in the U.S. in 2012 and the top most frequently challenged or banned book in 2014, according to The American Library Association. This essay examines representative attempts to ban Alexie`s novel and the discourse surrounding the conflicts over such book challenges to show that disputes about explicit language in YA literature are not really about whether particular words are age-appropriate or not, but rather who controls language, and thus, that book challenges in the field of YA literature are not really about protecting children or even morality, but rather, are about protecting the privilege to determine what the social mirror reflects and as a result, authorizes as authentic. Further, this paper argues that YA book challenges are in fact, attempts to illegitimize diversity by marking difference as disabled and/or deviant, and moreover, restrict sociocultural citizenship for minoritized groups through policing of belonging via assimilation and homogenization in order to control the idea of America and who is and can be an American through censorship.