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김화숙,김범수,정석,심미란,양문희,김성연,권계숙,조현근,김형길,신용운,김영수,이돈행 대한내과학회 2002 대한내과학회지 Vol.62 No.6
Congenital solitary nonparasitic cysts of the liver are rare condition in all age groups. Since 1856, only approximately 900 cases having been reported in the world literature. Epidermoid cysts of the liver are extremely rare type of congenital nonparasitic hepatic cysts, characterized by a fibrous wall entirely lined with stratified squamous epithelium, but lacking hair or skin appendages. This condition has yet to be reported in Korea. Because they have a potential for malignant transformation, it is important to totally resect the epidermoid cyst of the liver. Recently, we experienced a case of 44-year-old female patient with epidermoid cyst of the liver, which condition was complicated by a secondary infection. For this patient, an enucleation of entire cyst was performed. Given the rarity of this case, the following is a report of this case and a review of the relevant literature.
김화숙 韓國舞踊敎育學會 2011 韓國舞踊敎育學會誌 Vol.22 No.2
This study began from a personal interest that brain-based education can be available through dance education. Accordingly, based on brain-based education principle, it aimed to find out principle of brain-dance education and brain-based dance teaching-learning strategy. This study came to a conclusion from the examination of previous literature survey on cognitive neuro-science, biology and psychology. First, physical activity provides oxygen, movement generates brain nerve network, and nerve cell membrane increases to facilitate learning and to integrate sensible recognition. Such physical activity improves function and learning of brain. Accordingly, various movements including imaginary expression is necessary to develop brain and vitalize it. In particular, since dance, as a multi-sense art, enables to use space and time by movement, learn about relation, and to have imaginary learning and creative expression learning, it can correlate with cognitive function of brain. Accordingly, brain-based education can be used to activate dance education. Second, the principle of brain-based dance education should consider ① individuality, uniqueness and diversity, ② brain development by age and ③ provide holistic dance environment. It also should provide ④ an opportunity to integrate body, mind and soul, and ⑤ an opportunity to have positive emotional experience. It should provide ⑥ an opportunity to create meaning, exploration and pattern. Finally, it should provide ⑦ an opportunity to create relation and communication. Third, to set up brain-based dance education strategy, it should provide chances including ① use of diverse symbolic system, multi-facial and complicated learning environment, ② dance education program that considers brain development by age ③ rich stimulating environment (five senses, sense of movement, and sense of balance) ④ an opportunity of immersion through dancing image and creation, sharing dance experience and provide rest time (breathing) ⑤ learning environment creation that minimizes negative emotion but creates positive emotion ⑥ an opportunity to understand through appreciation of dance work, and to create meaning, exploration and pattern, and finally ⑦ providing dance program for social experience and for dance sharing opportunity. It is expected that proactive researches on brain-based dance education are activated based on this study, and further studies may create brain-based dance education method and model.
김화숙 韓國舞踊敎育學會 2000 韓國舞踊敎育學會誌 Vol.11 No.1
The puropose of this study is to propose a teaching model which has a desirable content composition and goal setting for a creative dance learning in elementary school. This study has achieved the following results by examining and analyzing research trends and previous studies by dance educators on the basic of an art dance model, i.e., Midway model (creating - performing - viewing), which has become a core of the recent dance education. First, the purpose of a creative dance education is as follows: ①Students can recognize and apply the elements of their body movements. ②They can express their feelings and thoughts through their bodies. ③They can apply to dance the materials and contents from other subjects. ④They understand the principles and processes, and the composition of choreography. ⑤They understand dance as a method for creating, performing, and viewing. ⑥They understand and perform dance from the perspective of diverse culture, history, and time. ⑦They can have a critical and analytic attitude toward dance appreciation. Second, the contents of creative dance can become ideal when they are subdivided into five stage units: ①exploration for dance elements, ②movement application, ③improvisation, ④imagination, and ⑤composition. Third, a teaching model for creative dance should be composed of the following five stages: ①warming up, ②concept exploring, ③composition, ④performing and viewing, and ⑤cooling down. Class at the stage of "creation by themes" can be conducted most ideally when it is planned and conducted not in a one-hour class, but in a three-hour class (first part: concept exploring, second part: work composition, third part: performing and viewing).