金顯承詩 硏究 : 나/너의 관계 양상을 중심으로

신정자 弘益大學校 1992 국내석사

消滅時效와 除斥期間에 關한 比較考察 : ??의 期間制限을 中心으로

신정자 이화여자대학교 대학원 1968 국내석사

潭陽 亭子文化 主役들의 茶文化 硏究

신정자 원광대학교 동양학대학원 2009 국내석사

The pavilion(Jeongja, 亭子) which this study intends to highlight has cultural characteristics reflecting the properties of Korean architectures as the space for tea culture. In particular, literary abilities of ancestors which were magnificently achieved at pavilion have down as Gasa-literature(歌辭文學) in case of Damyang region, which is a good value experience to see scholar culture of Chosun Dynasty. Our ancestors chattered each other with nature and made splendid literature at pavilion. Remarkable character of ancestors who enjoyed free times writing poems, drawing pictures, playing geomungo can be sketched through pavilion culture. We read avidly works collection of various literary men with the expectation that sincerity of boiling tea, making tea smoke as emotional feeling, and squeezing tea water will be expressed within the poems of literary men in Damyang region who made friendship in pavilion. Also, because several persons who are evaluated as tea favoring persons in later period of the people who made friendship centering on pavilion in Damyang region, we searched that their recognition to the tea showed certain degree. To the pavilion in Damyang region directly related to this paper, [the study of pavilion in Jeonlanamdo region] which was performed over six years by Jeonlanamdo regional culture institute of Jeonnam University almost completed the investigation. Of these, in case of Damyang, the report was firstly made at 1985. Therefore, it is estimated that the investigation of pavilion in Damyang region would be a base of subsequent pvailion culture investigation. Because under the characteristic of Korean pavilion, pavilion was mostly built at the very level of borrowing view not going through the step of reducing view, pavilion culture has been formed by assimilating to nature, not by invading it. Therefore, Taoistic speculation which regards 'leaving nature as it is(無爲自然)' as main academic value is strongly melted. This is also the part where can be easily found at everywhere in works collection of important persons in pavilion culture. Everyone who visited Damyang region once admired to the very pavilion culture. Because all pavilions in this region are built in the place where showing magnificent sight, they are naturally developed as sightseeing course. However, most people are seemed not to see pavilion only by sight. Important persons of pavilion already don't exist in real world, but because clear thing is that they are our ancestors, the culture of ancestors are handled in the area of traditional culture by integrating with the title of tradition. Therefore, because pavilion culture itself becomes traditional culture, the study to this field has been handled mainly in literary level, but in future, it is seemed that it should be handled even in the area of tea culture centering on persons like the searched facts of this paper. We can comment on many of tea favoring persons other than Gyeong-Myeong Go, Eok-Ryeong Lim, Chang-Heup Kim, Pil Gweon suggested in this paper, of them, we searched centering on those who left relatively many of tea poems. As you already know, they were the persons who showed their spirits forming poetical circles centering on pavilion in Damyang region. Because they didn't make activities staying only one place, it is difficult to link pavilion with tea favoring persons. Therefore, we explained them as the leaders of pavilion culture in Damyang region. Tea cultural properties which the leaders of pavilion culture in Damyang region can be concluded as followings: First, Korean pavilion culture is traditional space where have been loved until modern times. Because it has relatively its original shape of various architectural structures, even if establishing it with modern constructing method, pavilion is built based on traditional origin. Second, we can estimate the suffering of intellectuals in middle period of Chosun Dynasty through pavilion culture. In which most of leaders of pavilion culture are homecoming ones or hermits being sick of politics, their regrets were finally expressed through the genre of literature. And the characteristic which expressed this freely by forming poetical circles. Third, their tea culture was made through the harmony with nature. Because tea culture was enjoyed in specific space, pavilion not the inside, we can see the relative broad-minded spirits. 본고에서 조명하고자 하는 亭子는 茶문화공간으로서 한국 건축물의 특징을 고스란히 담고 있는 문화적 특징이 있다. 특히 정자에서 꽃 피웠던 선조들의 문학적 역량은 潭陽 지역의 경우, 歌辭文學이라는 형태로 전해지고 있는데, 이는 조선조의 선비문화를 엿 볼 수 있는 좋은 가치경험이 되고 있다. 선조들은 정자에서 자연을 벗하면서 담소를 나누고 문학을 꽃피웠던 것이다. 시를 짓고, 그림을 그리고, 거문고를 뜯으면서 여가를 즐겼던 선조들의 風格이 정자문화를 통해 스케치 될 수 있다. 차를 끓이며, 차 연기를 서정화하고, 찻물을 우려내는 정성이 고스란히 정자를 출입하면서 교유했던 담양지역 문인들의 시속에서 나타나고 있을 것이라는 기대를 가지고 여러 문인들의 문집을 탐독하였다. 그리고 담양지역의 정자를 중심으로 교유했던 인물들 중에서도 후대에 차인으로 평가받는 몇몇의 인사들이 있으므로 그들의 차에 대한 인식이 어느 정도인지를 살펴보았다. 본 논문과 직접 관련된 담양지역의 정자에 관해서는 전남대학교 호남문화연구소가 6년간에 걸쳐 실시한 ｢전남지역의 누정 조사 연구｣에서 거의 조사를 완료하였다. 이 중 담양의 경우는 1985년에 가장 처음으로 보고가 이뤄지고 있다. 따라서 담양지역 정자조사가 이후의 정자문화 조사의 토대가 되었을 것으로 짐작된다. 한국 정자의 특성상 축경의 단계를 거치지 않고 바로 차경의 경지에서 정자가 건축된 것이 대부분이기 때문에 자연을 범하지 않고 그 자연에 동화되어 정자문화가 형성되어 왔다. 따라서 無爲自然을 주된 학문적 가치로 삼고 있는 道家的思惟가 강하게 배어있다. 이는 정자문화 주역들의 문집 곳곳에서 쉽게 발견할 수 있는 부분이기도 하다. 담양지역을 방문한 이라면 누구든지 일성을 자아내는 것이 다름 아니 정자문화이다. 이 지역의 정자는 모두 빼어난 경관을 자랑하는 곳에 건립되어 있기 때문에 자연히 관광코스로 개발되어져 있기도 하다. 그러나 눈으로만 정자를 보고 마음으로 느끼지 못하는게 대부분인 것 같다. 정자의 주인공들은 이미 현실에 존재하지 않지만, 분명한 점은 그들이 우리의 조상들이라는 점이기 때문에 조상들의 문화는 전통이라는 타이틀과 접목되어 전통문화의 영역에서 취급되고 있다. 따라서 정자문화 자체가 전통문화가 되는 까닭에 이 분야에 대한 연구가 주로 문학적 차원에서 다뤄져 왔지만, 앞으로는 본고에서 살펴본 바와 같이 인물을 중심으로 한 차문화의 영역에서도 다뤄질 필요가 있다고 본다. 본고에서 제시한 고경명, 임억령, 김창흡, 권필 이외에도 수 많은 차인들을 거론할 수 있지만, 그 중에서도 비교적 많은 차시를 남긴 이들을 중심으로 살펴보았다. 주지하다시피, 이들은 모두 담양지역의 정자를 중심으로 詩壇을 형성하여 그들의 기개를 폈던 인물들이다. 한 곳에서만 머무르면서 활동을 한 것이 아니기 때문에 구체적으로 정자와 차인을 연결시키기는 곤란한 점이 많다. 따라서 이들을 모두 담양지역 정자문화의 주역들로 설명한 것이다. 담양지역 정자문화의 주역들이 남긴 차문화적 특징을 다음과 같이 결론짓고자 한다. 첫째, 한국 정자문화는 근 현대에까지 꾸준히 사랑받아 온 전통의 공간이라는 점이다. 여러 가지 건축구조물 중에서도 비교적 그 원형을 간직하고 있기 때문에 현대식 공법으로 건립하더라도 반드시 전통 원형에 입각하여 정자나 누각 등을 세우고 있기 때문이다. 둘째, 정자문화를 통해 조선중기 지식인들의 고뇌를 읽을 수 있다. 정자문화의 주역들 중 대부분이 정치에 신물을 느껴 귀향한 출신들이거나 은둔인사라는 점에서 그들이 품었던 恨은 결국 문학이라는 장르를 통해 표출되고 있다. 그리고 이를 시단을 형성하여 자유롭게 표현하고 있다는 특징이 드러난다. 셋째, 그들의 차문화는 자연과의 호흡을 통해 이루어지고 있다는 점이다. 실내가 아닌 정자라는 특수 공간에서 즐겼던 차문화이기 때문에 비교적 호방한 기개를 엿볼 수 있다.

학교운영위원회의 운영실태 및 활성화 방안에 관한 학부모위원과 교사위원의 의견분석

신정자 이화여자대학교 교육대학원 1997 국내석사

코브라 그룹의 회화적 특성 연구 -Karel Appel을 중심으로-

신정자 원광대학교 2003 국내석사

본 논문은 세계2차 대전 후, 북부유럽에서 자생된 코브라(COBRA) 그룹에 관한 연구이다. 코브라 그룹은 북유럽의 화가, 조각가, 시인, 평론가로 구성되었고 이 그룹의 명칭은 창단 맴버들의 출신도시인 코펜하겐(Co), 브뤼셀(Br), 암스테르담(A)의 첫머리에서 따온 것이다. 또한 명사로는 독사를 뜻하기도 하는 이름에서 알 수 있듯이 모든 예술사조에 대항하는 실험 미술적 성격을 내포하고 있다. 이 그룹의 창단 멤버로는 인류학에 심취되어 있던 덴마크의 화가 아스거요른(Asger Jorn, 1914-1973), 네덜란드의 실험미술을 대표하는 카렐 아펠(Karel Apple, 1921-), 콘스탄트(Constant Anton Nieuwenhuys, 1920-), 꼬르네이유(Corneille Guillaume Beverloo, 1922), 에질 야곱슨(Egil Jacobsen) 등이 있으며 후에 알레친스키(Alechinsky)가 합류하고 벨기에의 시인 크리스티앙 도트르몽(Christian Dotermont 1922-)이 이론가 겸 후원자적 역할을 했다. 이들은 1948년부터 1951년까지 두 차례의 대규모 전시회와 총 10회의 COBRA誌를 출판하였고 이 그룹이 해제되기까지는 많은 예술가들이 가담하였다. 코브라는 관료적인 문화유산과 전통주의에 반기를 들어 지성의 통제를 벗어난 직접적인 표현 방법을 추구하였으며 사물의 모방을 초월하여 자연에 유사한 조형성을 기반으로 하고 있다. 또한 격렬한 표현주의적 요소와 초현실주의로부터 원용한 환상적 이미지와 자동기술법이 나타나고 있으며 신랄하고 사나운 유모어와 반 에콜 드 파리, 반 기하학적 추상, 반 매끈한 회화, 반 안락한 회화, 반 미학적 표현을 특징으로 하고 있다. 표현적이며 구상적 암시를 포기하지 않으려는 코브라 그룹의 화가들은 역동적이고 지칠 줄 모르는 힘의 상징으로 서정 추상에 표현주의라는 새로운 차원의 양식을 부여한 하나의 항거라고 할 수 있다. 자발적이면서 행위 중심적이며 환상적 행태와 강렬한 색채를 사용한 이 회화의 원천은 원시미술, 민속미술, 아동미술에서 찾아볼 수 있다. 특히 코브라 그룹이 추구하였던 것은 가식적 현실이나 추상적 관념을 표현한 것이 아니라, 인류의 오랜 역사를 거쳐 지나온 인간성의 원형을 통하여 환상과 실재를 통합하는 것이었으며 이러한 경향은 무의식적 자발성과 의식의 통합에 의한 추상과 구상의 공존으로 나타났다. 코브라 그룹은 그냥 단순한 그룹이 아니라 하나의 운동이었다. 이러한 독창적인 운동이 제대로 평가받지 못했던 것은 에콜 드 파리의 편견과, 코브라 그룹이 앵포르멜과 미국의 추상표현주의와 비슷한 시기에 나타났기 때문이다. 그러나 코브라 그룹의 예술관은 요른이 언급한 “코브라는 모든 인간의 감각에 공통된 형태미를 찾는데 그 목적이 있다”라는 데서 알 수 있듯이 “인간성(Homanism)"과 밀접한 관계를 갖고 있으며 이것은 바로 미국의 추상표현주의에 대등한 유럽적 표현주의로부터 나온 격렬한 표현성 및 초현실주의 세계로부터 원용한 환상적인 모티브와 자동주의 기법이 두드러진 예술 그룹임을 제시하였다. 그들은 과거의 미술사조를 거부하였으나 북구의 표현주의 작품과 초현실주의 회화에 나타나는 환상적 현상에는 영향을 받았고, 동시에 새로운 실험정신으로 자신들만의 공통된 이미지로 부각시켜 독자적인 길을 걸었다. 이것은 신화나 민속, 아동미술이라는 모티브를 통해서 이루어졌으며 가장 효과적인 표현으로서 그들은 강력한 표현주의적인 경향과 자발적 표현, 그리고 구상적 경향과 추상적 경향을 모두 포괄하였다. 이러한 코브라 그룹의 운동은 그 동기나 개별적인 강세에서의 차이는 있으나 오늘날 신 표현주의 미술이 추구하는 방향과 무관하지는 않다. 전후 유럽미술의 형성에 중요한 위치를 차지하고 있으면서 최근까지도 자신의 예술적 혁신을 보여주고 있는 아펠은 코브라 그룹으로 활동하였다. 네덜란드 특유의 전통과 기질을 바탕으로 국제성을 띤 작품들을 발표하고 있을 뿐만 아니라 앵포르멜 운동에 가담하여 순수하고 자발적인 표현의지의 세계를 개척하였던 작가중의 한 사람이었다. 또한 어린이의 천진난만한 환상적 세계를 연상하게 만드는 아펠의 회화, 드로잉, 조각작품은 세상에 때묻지 않은 어린이들의 그 자유로운 상상력의 세계를 생각하게 만드는 것이다. 또한 격렬하고 자유분방한 필치와 밝고 강렬한 색채로서 이루어진 그의 세계는 그 자신이 말했던 것처럼 “포효하는 사자의 으르렁거림과 약동하는 소리의 울림이 메아리침과 동시에 진실된 열정 같은 것”을 느낄 수 있다. This paper deals with KOBRA group that started to be organized spontaneously in Northern Europe after the World War II. The group was composed of painters, sculptors, poets and critics in the Northern Europe countries as its name stands for the combination of the cities they come from: Copenhagen(CO), Brussels(BR) and Amsterdam(A). The name itself also refers to a poisonous snake, implying symbolically the pictorial characters of the new experiment that made a stand against all sorts of artistic trends. The founders of the group included Asger Jorn(1914-1973), a Danish painter who was wholly devoted to the anthropology; Karel Appel(1921- ) who was the forerunner of Dutch experimental fine art; Constant Anton Nieuwenhuys(1920- ); Corneille Guillaume Beverloo(1922- ); and Egil Jacobsen. Later, Alechinsky joined the group and Christian Dotremont(1922- ) from Belgium supported it as sponsor as well as theoretician. The members organized two large scale exhibitions and published COBRA journals 10 times from 1948 to 1951, attracting the participation of great number of artists, until it was finally dissolved. The group, in revolt against the bureaucratic cultural heritage and conventionalism, had pursued the techniques to express directly on the basis of formativeness similar to nature but beyond the imitation of it and free from control of intelligence. The group was marked by harsh and wild humor, anti-Ecole de Paris, anti-geometric abstractionism, anti-refinement painting, anti-comfort painting and anti-aesthetic expression, employing radically expressionistic elements, visionary imagination invoked from surrealism and automatic descriptive method. The members of KOBRA group held fast to the expressionistic and representational suggestion, in a move to resist to the lyric abstractionism by adding a new dimension of expressionism as a token of their persistent and dynamic strengths. The origin of their painting which was spontaneous and act-oriented in using visionary forms and dazzling colors might be traced back to primitive, folk and children's paintings. The highest value KOBRA group recognized wasn't to manifest hypocritical reality or abstract concept but to unite the vision with the actuality by means of prototypical humanity that had sustained the whole process of human history. Such a trend came out as the coexistence of abstraction and representation thanks to the integration of unconscious spontaneity with consciousness. KOBRA was not a simple group of artists but a movement. The reason why it was not properly evaluated in spite of its uniqueness was due to the prejudice by Ecole de Paris and particularly due to contemporaneous appearance of Informel and America's abstract expressionism. As Jorn well defined, "KOBRA aimed to find the morphologic beauty common to the sense of all human beings", the artistic view of KOBRA was closely associated with "humanism", which was a vital evidence proving that KOBRA was a group involved significantly in visionary motif and automatic technique borrowed from the surrealistic world and involved in fierce expression originated from the European expressionism that was comparable to American abstract expressionism. Even though the KOBRA group resisted to the past trend of fine art, it was actually influenced by the visionary phenomena as seen in the expressionistic works of Northern Europe and surrealistic paintings. The group went its own way with its common image standing out in the new experimental spirit. Such experiment was performed by virtue of such motifs as mythology, folk art, and children's paintings. It even regarded the powerful trend of expressionism, spontaneous expression and both abstract and concrete tendencies as most effective means of expression. This move of KOBRA group is nothing irrelevant to the pursuit of the new expressionism in the current art in spite of some variance in the motive and individual extent of stress. Appel has held an influential position in initiating the European trend of art since the end of the World War and continued to demonstrate his will for artistic renovation up-to-dately. He has been active as member of KOBRA group, producing international-minded works based on Netherland-unique tradition and temperament. He was one of the painters who developed their world of spontaneous expression while joining Informel movement that was initiated in Paris. Appel's paintings, drawings and sculptures used to remind the viewers of the field in which children are playing in naive and innocent way of imagination, free from the stains and complaints of the real world. As he described his artistic views, everybody can share "a feel of true enthusiasm as echoed like roaring lion" in his works full of unrestrained strokes and intensely dazzling colors.

창세기 28장10-22절 주석적 연구 : -역동심리학에 기초한 "야곱의 꿈"분석을 중심으로-

신정자 장로회신학대학교 일반대학원 2017 국내석사

국문초록 및 주제어 본 논문은 창세기 28장 10절에서 22절에 담긴 ‘하나님 임재’에 중점을 두고 본문을 주석적 연구하며 야곱이라는 한 인물의 꿈을 심리적으로 분석하며 다루어 본다. 야곱이라는 한 인물이 가진 배경과 성서학적 이론들을 근거로 하여 신앙의 여정을 살펴보는 것이다. 필자는 창세기 28장 야곱의 ‘벧엘에서의 하나님 임재’ 본문을 통하여 필자의 신앙을 갱신하는 계기가 되었으며, 전통사적(Traditionsgeschichte) 연구 방법론을 사용하여 고대 근동의 배경들을 살펴보는 동기를 제공하고자 한다. 구약성서를 통해 야훼 하나님의 위엄을 살펴보고, 야곱의 심약한 인간 본성을 파헤쳐 본다. 설화적 요소가 다소 드러나므로 고대 근동 지방 중심으로 문화와 배경을 연구하고, 꿈이라는 소재를 잘 파악하여 인간의 본성과 심리 저변에 있는 무의식의 세계를 살펴보기로 한다. 야곱은 창세기 12장에 나오는 아브라함 이야기부터 야곱의 파란만장한 긴 이야기가 전개되는데, 구속사적 역사를 기록하기 위해 이스라엘 역사에 있어서 없어서는 안되는 핵심 인물이다. 하나님의 메세지는 수여받는 자들이 환상을 보고, 하나님의 음성을 들음으로써 이루어진다. 야곱은 꿈 속에서 하나님이 나타나시는 환상과 약속을 받는다. 필자는 개인적으로 족보를 중요하다고 생각하는데, 야곱은 비록 형을 피해 외가로 도주하는 신세였지만 예수 그리스도의 족보의 근간이 된다. 구약성서로부터 신약성서까지 그리고 예수그리스도의 오심까지 야곱에게서 많은 족장과 인구가 번성한다. 하나님의 역사는 평탄한 사람의 삶에서 뿌리를 내리지 않는다는 것을 잘 보여주는 예가 되는 인물이다. 이 야곱의 삶과 방황과 야곱의 꿈을 통해 임재한 하나님의 계시와 섭리를 살펴보는 것이 이 논문이 지향하는 것이다. 주제어 : 그 장소, 사다리, 꿈, 벧엘, 서원 등

대구지역 임신부의 식행동 및 영양상태와 신생아 체중과의 관계

신정자 大邱曉星가톨릭大學校 大學院 2000 국내박사

This study was carried out by using questionnaires answered by 1,018 pregnant women who visited Catholic Medical Center, and Shinsegi Hospital for the purpose of a obstetrical examination and treatment and 638 maternal women of them to examine general facts, morning sickness, and eating patterns. For this study, also, their daily food intake was surveyed by a trained person's counseling with them on the basis of a %-hour recall method, and then the results were input and processed by the CAN program. In addition, infant data also was examined by using their postpartum clinical records of those hospitals. The purpose of this study is to suggest methods for nutritional management appropriate to pregnant women by analysing pregnant women's clinical characteristics and maternal eating patterns, nutrition status, evaluating their nutrition intake status and nutritious adequacy to examine their relations with infant birthweight. The results are summarized as follows. 1). The pregnant women's age was 30s(56.3%) and 20s(43.7) who were composed of housewives(84.9%) with the educational background of high school graduation(51.8%), and more pregnant women visited hospitals during the later periods(66.7%) of pregnancy when maternal care is very important. 2). Their physical condition was that average height was 160cm, weight before pregnancy was 52Kg, and weight addition and reduction before and after pregnancy were 11.4Kg which was similar with 10Kg-12.5Kg of general weight addition and reduction during pregnancy. 3). Pregnant complication was that anemia for 18.1% which was highest, and important stress factors from pregnancy was that "Uncomfortable" accounted for 50.8%, and "Family relations" for 13.6%, and their relations with nutrition intake showed that cholesterol intake was lower during the early period of pregnancy, vitamin C intake was high during the later period, and the intake of iron, vitamin A and animal protein was lower(P<0.01). When stress was given during the early period of pregnancy, the Apgar score was significantly lower. 4). Their morning sickness was most serious during the early period of pregnancy, in such order as 'sickening' > 'nausea' > vomiting' > 'stomach sour,' which became mild with its later period. Like the intake frequency of food, the nutrition intake also showed negative relation with the morning sickness and all nutrients which were significant for most nutrients(P<0.05, P<0.01). It was shown, therefore, that the morning sickness played an important role for nutrition intake during the early period of pregnancy. 5). The pregnant women's preference for taste was that they disliked salty taste during the early period of pregnancy, and that they preferred hot taste during all the period of pregnancy. Sweet taste was more preferred during the early period than the later period of pregnancy. 6). The rate of daily nutrient intake to recommended nutrients according to the periods of pregnancy indicated 1652Kcal during the early period, 1738Kcal during the middle period, and 1848Kcal during the later period. All of sugar, fat and protein increased and showed significant difference with the later period of pregnancy. Vegetable calcium, vitamin A and C, and calcium showed significant difference with the later period of pregnancy. It was shown that the lowest nutrient intake of pregnant women was iron and calcium, and that the intake of all nutrients, excepting phosphorus, niacin and vitamin C, was less than their recommended volume. 7). The birth sex of infants was that male infant accounted for 49.8% and female infants for 52.2% which were nearly same. The average birthweight of infants was 3.33Kg for male infants and 3.25 for female infants, and the average period of gestation was 38.7 weeks. It was also shown that the taller and the heavier the height and weight of pregnant women, the taller and heavier the infants' height and weight(P<0.05). Smoking was shown that the lower the age when they began to smoke, the lighter the birthweight of infants. 8). Relation between their eating pattern and infant birthweight appeared to be little bit close between a group which took in Ramyon(instant needles) and instant food almost every day and a group which took every kind of food without considering food combination was little bit closer in case of 3.10Kg or less. A group which took meat almost every day showed that the infant birthweight was 3.10∼3.53Kg which was relatively high. 9). Relation between the pregnant women's hemoglobin level and infant birthweight showed that their maternal Hb was 10-11 gm/dl and postpartum Hb was less than l0gm/dl which seemed to be based on the value reduction from delivery blooding. There was no significant relation between their maternal Hb, iron intake and infant birthweight. The maternal Hb of a group of 378 who took an iron assistant was 10.96gm/dl, and that of 260 who did not take it was 9.21gm/dl which was lower than that of its intake group. 10). The result of their nutrition intake and infant birthweight during the later period of pregnancy showed that calory was 2001Kcal for 51-75 divisions (3.10∼3.53Kg) which was highest, and that their intake of sugar, fat, protein and animal calcium was high. The rate of recommended nutrients was that calory accounted for 87.0% and calcium for 70.6% which were higher than those of other divisions. As an diet assistant, iron was high for 50 division (3.05∼3.10Kg) and 100 divisions(3.53-4.04%) which showed significant difference(P<0.05). 11). The 51-75 divisions(3.10∼3.53Kg) of infant birthweight was that protein accounted for 101.7% which was highest, and vitamin C for 290.9% which highest among all nutrients. The NAR also showed that protein was 0.87, phosphorus was 0.82, and vitamin B_(1) was 0.83 which were highest, for the 75 divisions(3.10∼3.53Kg) of infant birthweight. The NAR was 0.77, and the MAR with the intake of an iron assistant was 0.83, Index of nutritional quality(INQ) for 76∼100 divisions (3.53∼4.04Kg) showed that vitamin A and B_(2) were higher than those of other divisions, and the lowest intake was iron, calcium and vitamin B_(2). Based on the above result, it was shown that when the pregnant women's nutrition status is satisfactory and the normal 3.10∼3.53Kg infant is delivered, the factor affecting infant birthweight includes their insufficient nutrition status, loss and change of their taste for food during the early period of pregnancy, stress, wrong eating habit, smoking and anemia. In addition to nutrition status, accordingly, a health fife style, regularly eating habit, proper eating pattern, and family members' emotional support. to improve the pregnant women's mental health are required to assist them before delivery.

김동리 문학에 나타난 죽음의 미학

신정자 조선대학교 대학원 2002 국내석사

When it is said that an author establishes his own world in his writing, it means that the author has his wonderful creativity. The creativity gives a uniform aspect through his work and makes his world of work distinct. Thus the creativity of the author is presented by his characteristic order of imagination. As for Kim Dong-ri. the development of most of his work depends on symbolic images, has uniformity. This study is designed to analyse symbolic images in his work in order to identify meaning of death which appears all through his work. It aims to identify what he finally pursues through his writing in literary way. In Kim Dong-ri's work, death is a manifestation in his consciousness and most of his work is based on death and looking on of human death. That is, death is a base of his world of literature. However, the perception of life in his work departs from imagination of death, but image of death brings more desperate pursuing of symbolic immortality and death in his work is based on an affirmation of life. Image of death that consistently appears in his work aims to find the meaning and the recreation of death by union and destruction of water and fire and by transformation of symbolic image of fire and water among four elements based on imagination criticism theory of Gaston Basulare. In 「Wangtoki」 presents change in appearance of fire indicating narrative tragedic death of mortality. 「Munyeodo」 and 「Neup」 identify meaning of death in basic recurrency through a symbol of water. 「Dal」represents meaning of death in circulation and recreation by the union of moonlight and water that is a change in appearance of fire. And 「Deunsinbul」 recreated death and life and meaning of death to seek truth through destruction and clarification of fire. Finally, consistent use of meaning of death presented in his work is designed to return and assimilate to cosmic life through escaping from fear of death and therefore, disregard the peril of one's life.

음악감상에 기초한 포괄적인 음악활동이 유아의 음악능력에 미치는 영향

신정자 원광대학교 교육대학원 1998 국내석사

50年代 表現主義 舞踊傾向의 舞踊史的 意味에 관한 考察

신정자 東亞大學校 大學院 1990 국내석사

The Expressionistic dance is one of the artistic trends occured in Westen Germany just after the World War I. This trend of arts starting as a standard of revolt against naturalism and impressionism appeared to have a subjective tendency with expressing of inner emotion. The Expressionistic dance in 1950s Contributed to the history of dance as following subjects; 1. It sublimate the abysimal state existing in the inner minds of human beings. 2. It reflect and represent the situation of the times and social circumstance to accuse the social reality at those times caused by the world War I and II. 3. The content of the expression extends the expressive range to present freely not only the delighted emotion but also grief, agony or dread, and shudder emotion. 4. The expressionistic dancers in those days are considered to have personal expressive method in order to express these contents and largely contribute to the variation and development of these techniques. 5. The trend in the expressionistic dance occured in the western Europe in the 1950s could develop those expressional elements and contents after wards including America. The importance of historical meaning contributed to the transition into the next trend in 1960's dance as a post-modern.