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과학교과 통합 진로교육 프로그램이 진로 결정 자기 효능감과진로 성숙도에 미치는 영향
이숙희,정영란 韓國生物敎育學會 2014 생물교육 Vol.42 No.3
In the present study, we developed and applied career choice training incorporated with science education consists of 39 trials, and observed how it can affect career-decision-making self-efficacy and an individual's maturity toward career choice. The subjects for the present study were 143 Junior high school 3rd graders, and we used a pre-test post-test control group design to investigate the research questions. The contents of the study were chosen from the one chapter of each fields, and learning activities that consisted of both exploratory activities as well as reading activities. The content of the career education consists of how students can understand the domains of career and work, and how they can navigate though these. Also, we urged students to be diligent in the current science related activity since it is one of the crucial abilities which is necessary for their future career choice. To develop rational career choice decision-making, we guided students to initiate discussion topics, to have discussion about those, and to present them during class. The content of the career choice was presented for 5 to 10 minutes on one of the following steps (beginning, development, conclusion) depending on the nature of the topic. The results from our study showed that the applied program was effective on improving students' self-efficacy on career choice (p<.05) and career maturity level (p<.05). We concluded that the addition of career choice training incorporated with science education is highly recommended for the current curriculum for junior high school students.
말씀중심주의의 해체와 대항담론 찾기 : 토니 모리슨의 『솔로몬의 노래』
이숙희 신한영미어문학회 1998 새한영어영문학 Vol.39 No.-
Song of Solomon is a kind of genotext in spite of the fact that the auther herself denies it. It is her main concern to find an authentic life style of the black in modern society. But her observation and solution to it are very close to some French feminists' agenda. The hero, Milkman is a person revealed on various kinds of discourses. They all try to make influences on him. The two strongest discourses of them are his father's and his aunt's, which are in a striking contrast to each other. Macon Dead, Milkman's father, is the representative person whom some feminists regard as a Father goveming the Symbolic world after the Oedipal Stage. He is the real owner of his home and order all the family to summit to him, which can be called as an Oedipal nightmare. Milkman who knows that his father's Law is a death-affirming law cannot but stay at his father's home, because he doesn't know the other world. When he met his aunt Pilate, he began to touch the possibility of this totally different other world. Pilate is an embodiment of real Mother whom his biological mother, Ruth, can not show. Ruth's female voices has been completely cut and forgotten by her partrical father and husband. In contrast to Ruth, Pilate is not at all damaged by the dominant mancentralized capital discourse. On the boundary between the society and wildemess she keeps her female matemity as it is. Her world is natural, sensual, and intimate. There is no marked separation between "T" and "Others" in it. Milkman finds a life-affiming life style here at Pilate's home, and is bom again as a generous and free person who does not any more feel oppressed by his father's law.
이숙희 한국국악학회 2002 한국음악연구 Vol.32 No.-
This study concerns the research of the various kinds of music used during military ceremonies in the Joseon dynasty (1392-1910) and also explores its distinctive characteristics. As we shed some light on the character of this music, rather than thinking of this music conceptually within the general category of military music (gunak, 군악), it is the intent of this study to look at the specific circumstances in which this music was used. Just as military rituals in the early Joseon period differed considerably from those performed in the later Joseon, the same was the case for its music. In the early Joseon period, performance groups were not formed in military camps, instead ensembles formed out of the Jangakwon performed Korean court music(a-ak 아악), court music of post-Tang dynasty China (rang-ak, 당악), and a kind of processional or ceremonial music referred to as kochwi-ak(고취악), literally "drumming and blowing music". However by the late Joseon, military bands called the Chwikosu(취고수), Saeaksu(세악수), and the Naechwi(내취 ) were formed within military camps and mainly performed hyangak(향악, literally, "native Korean music"). In the early Joseon military ceremonies called the Sawusadanui(사우사단의) or "archery ceremony" and Kwan-sawusadanui(관사우사단의) or "public viewing archery ceremony," musical bands such as the Deung-ga(등가), Heon-ga(헌가), and Kochwi(고취) were set up to perform. During the ceremony called Daeyeolui(대열의), music called Kochwiak was performed. During the ceremony called Kyedongdaenaui( 계동대나의) a Jangakwon(장악원) ensemble court musician would perform on an instrument called the koㆍjaengㆍjeok (鼓ㆍ錚ㆍ笛) while someone played the ceremonial role of changsu(唱帥) who performed all the necessary gestures and incantations. In this type of ceremony, military bands did not participate. In one exceptional military ceremony called Chwigakryeong(취각령), the Chwigakin(취각인), who was a member of the military, participated in the ceremony by playing an instrument called the gak( 角). In addition, during an solar/lunar eclipse musicians would play blue, red and white drums and during other types of archery ceremonies called the Hyangsaui and the local musicians would play keumseul ( 琴瑟) instruments. During the archery ceremonies called Sawusadanui and Kwan-sawusadanui, the Deung-ga band played a piece called Seonganjiak(성안지악), while the Heon-ga band played the Seonganjiak piece in addition to Hwa-anjiak(화안지악), Yunganjiak(융안지악), etc., as well as other types of court music. However, after the reign of King Sejong, Seonganjiak, Hwa-anjiak and Yunganjiak were no longer played and instead, the pieces Yeominlakryeong(여민락령), Yeoseong(역성) were performed. As part of Royal processions the front and rear kochwi bands played the pieces Yeominlakman(여민락만), Seongsumugangman(성수무강만), Yeominlakryeong(여민락령), Boheojaryeong(보허자령) and Hwangungak(환궁악) as well other types of tangak (post-Tang dynasty court music) and kochwiak (processional music). What is important here is that the genres of music that were used in the military music of the early Joseon period were a-ak (court music), tangak, and kochwiak. In the case of one of the late Joseon military ceremonies called Daesaw (archery, 대사의), the Deung-ga, Heon-ga and Kochwi bands were formed out of the Jangakwon. In the Yeonsaui(연사의) archery ceremony and in a special military award ceremony and banquet called Chinlimhogweui(친림호궤 의), the Chwikosu(취고수) and Saeaksu(세악수) military bands performed a type of music called koak ( 鼓樂). In the ceremonies called Chinlimyungmudaeshisaui (archery ceremony performed in the Yungmudae, 침림융무대시사의), Daeyeolui, Seongjoui, and Yajoui (military training ceremonies, 대열의, 성조의, 야조의), the genre of chwita (daechwita and sochwita, 취타) was performed. In the archery ceremony called Chinlimshisaui(친림시사의) only the ko(鼓) drum and the jaeng(錚) gong was played. During Guwuolshik(구월식), a ceremony performed to ward against an eclipse, the jaeng(錚) gong was played. In addition, in the military ceremonies of the late Joseon, chwita (daechwita and sochwita) was mainly played during military camp training exercises, where each instrument had a role in skillfully signaling the transmission of orders to the troops. Though it is difficult to know exactly what daechwita and sochwita was like at the time, now the Muryeongjikok(무령지곡) musical score is commonly thought of as daechwita. During the Chinlimhogweui (military award ceremonial banquet), the Saeaksu band played Yeominlak(여민락), Yongsanhoesang(영산화상) and Gunak(군악). Currently, Chwita(취타), Gilgunak(길 군악), Giltaryong(길타령), Byeolujotaryong(별우조타령), Gunak(군악) and other types of haengak (processional music, 행악) are in transmission but there is no record of these exact pieces being be used in the military ceremonies that have been examined in this study. With this in mind, in the late Joseon hyangak (native Korean music) was the primary rype of music used during military ceremonies. In the early Joseon military ceremonies, the performing bands of the Jangakwon mainly played a-ak, tangak, and kochwiak while on the other hand, in the late Joseon the Chwikosu, Saeaksu and Naechwi bands appeared to have performed hyangak (native Korean music). These musical bands also participated in several activities outside of the military camps, thus creating a sphere of activity that was quite broad. Because of this, these bands had a strong influence on the musicians of the late Joseon period. In the future, there is a need to further research the formation, background, origins and music of these late Joseon military camp bands.
발 반사마사지가 노인의 우울과 내장기관의 활성에 미치는 효과
이숙희 한국임상사회사업학회 2008 임상사회사업연구 Vol.5 No.3
본 연구는 발 반사마사지가 노인의 우울과 내장기관 활성에 미치는 효과를 확인하고자 하는 것이 목적이다. 노인요양시설에 거주하는 여성 노인 15명을 대상으로 하여 1주일에 5회 4주 동안 총 20회 발 반사마사지를 실시하였으며, 연구 전과 후에 혈액을 채취하여 노인의 혈청가스트린 수치의 변화와 위 증상의 변화를 살펴보고, 우울정도를 측정하였다. 본 연구결과 혈청가스트린 수치는 발 반사마사지 적용 후 유의한 증가를 보였으며, 위 증상의 변화인 상복부 통증, 상복부 불쾌감, 상복부 포만감, 상복부 팽만감, 트림에서 그 증상이 통계적으로 유의하게 감소하였다. 또한 주당 배변횟수는 통계적으로 유의하게 증가하였고, 우울 증상 또한 발 반사마사지 후 유의하게 감소하였다. 결론적으로, 발 반사마사지가 노인의 위장 소화운동을 촉진시켜 위 배출속도를 정상에 가깝게 함으로써 노인에게 흔히 유발될 수 있는 기능성소화불량증에 효과적인 치료방법이 될 수 있음으로 확인할 수 있었고, 발 반사마사지가 노인요양시설이나 재가 노인들에게 적절하게 수행 할 수 있는 치료요법이라 사료된다. The purpose of this study was to investigate the effect of foot reflex massage on depression and activa-tion of internal organ in elder. The participants of the this study was 15 woman elderly person over 65 years old that was dwelled at nursing home. In this study, 30 minute foot reflex massages were performed on elderly for 4 weeks with the frequency of every other day, blood samples were collected prior to and af-ter the study, and changes in their serum gastrin that represent their stomach conditions were observed. The results of this study showed serum gastrin increased, the upper abdominal pain, upper abdominal dys-phoria, upper abdominal satiation, upper abdominal distention and belching decreased, and weekly fre-quency of defecation increased. All measured item were statistically significant.In conclusion, this study showed the foot reflex massage does positive effect activation of internal or-gan in elderly person. This indicates that the foot reflex massage is an effect on Digesting functional ob-stacle on older person.
이숙희 湖南大學校 1996 호남대학교 학술논문집 Vol.17 No.2
In consumer behavior, the experiential perspective occurs when consumers make purchases principally because of strong positive feelings, rather than because of lengthy rational decision making or strong environmental pressures. The experiential perspective is important in explaining clothing consumer behavior because emotional responses stronger influenced than congnitive responsess on clothing pruchase. Therefore experiential perspective has increased in clothing research fields. The purpose of this study was to propose desirable research direction of the experiential perspective in clothing consumer behavior. For this purpose it was intended to define the concept of the experiential perspective of consumer behavior and to clarify the concept of affect which was major part of the experiential perspective. In addition, the experiential perspective was reviewed by focusing the some of existing documentations on clothing research. The conclusion of the study was as follows. 1. The attitude model toward clothing products from the viewpoint of experiential perspective should be emperically conducted and revised. 2. Consumers exprience various emotional responses to clothing in consumption process. So more reliable measure of affect should be developed. 3. Consumer chracteristics, situation variables should be considered in experiential perspective. 4. The study on experiential perspective which is closely linked to affect should be extendfed to brand loyalty, postpurchase satisfaction, complain behavior.
이숙희 한국음악사학회 2002 한국음악사학보 Vol.29 No.-
After the Hideyoshi Invasion called Imjin waeran 壬辰倭亂 in 1592 and the Manchurian Invasion, Pyo˘ngja horan 丙子胡亂 in 1636, the Choso˘n society was unable to undergo a historical change in terms of social institutions, economic systems, culture, and so on. The military band music was not exceptional in this historical trend of the late Choso˘n period. This paper is, therefore, intended to investigate the function of Ch'wigosu 吹鼓手, which was a kind of military band music appeared in the late Choso˘n period. This paper is based on various literary sources and iconographic materials : e.g. such literary sources as Kihyo sinso˘ 『紀效新書』, Yo˘n-byo˘ng chinam 『練兵指南』, Pyo˘nghak chinam 『兵學指南』, Pyo˘nghak chinam yo˘nu˘i 『兵學指南演義』, Ch'un'gwan t'onggo 『春官通考』, Man'giyoram 『萬機要覽』, Wo˘nhaeng u˘lmyo cho˘ngri u˘igwe 『圓幸乙卯整理儀軌』, etc.; and iconographic materials including Kim Hong-do's 金弘道 (1745-1806) Anru˘ng sinyo˘do 安陵新迎圖, Modang Hong I-sang p'yo˘ngsaengdo 募堂洪履祥平生圖, and so on. In conclusion it is pointed out that there were three functions of Ch'wigosu : 1) command and communication, 2) band music performance, and 3) taking one's turn in office or night duty called ipchik 入直. Instrumentation of Ch'wigosu varied according its function : e.g. Ch'wi-gosu for command and communication consisted of nine instruments such as horn called kak 角, conch horn (nagak 螺角), clarion (nabal 喇叭), conical oboe (hojo˘k 胡笛 or t'aepy'o˘ngso 太平簫), a kind of flute (palla 발라), cymbal (cha˘ng 鉦), small gong (na 나), a kind of percussion (solbal 솔발), and barrel drum (puk 북).
통합적 유아 음악교육이 유아의 음악적 흥미와 음악적 태도에 미치는 영향
이숙희 미래유아교육학회 2005 미래유아교육학회지 Vol.12 No.1
본 연구는 유아들을 대상으로 한 통합적 음악교육이 유아들의 음악적 흥미와 음악적 태도의 증진에 미치는 영향을 밝혀보기 위하여 수행한 것으로, 116명의 5세 유아들을 실험집단과 비교집단으로 배치하고 8주 16회의 처치를 실시하였다. 실험처치를 실시하기 전에 실험집단과 비교집단에 각각 호미검사와 刻도검사를 실시하였고, 처치가 끝난 다음 동일한 검사를 실시하였다. 통계분석은 t-검증을 실시하였다. 이러한 과정을 통하여 통합적 음악교육이 유아들의 음악적 흥미와 음악적 태도 중 표현과 감상 영역에 긍정적인 영향을 미치는 것으로 나타났다. 따라서 통합적 음악교육은 유아들의 음악적 재능을 개발하기 위한 중요한 자원인 음악적 흥미와 음악적 태도를 증진시킴으로써 유아들에게 음악에 대한 보다 긍정적인 태도를 갖도록 한다는데 의의가 있다. The purpose of this study was to investigate the effects of integrated music education program on young children's musical interest and attitude. A total of 116 children were assigned to the experimental and control group. Also specialized integrated music education sessions were given to the experimental group 16 times during 8 weeks. The suggest of this study showed that integrated music education was effective to increase a part of children's interest and positive attitude on music. The results of this study suggests that integrated music education program is effective as a way of introducing music to young children.
이숙희 한국음악사학회 2012 한국음악사학보 Vol.48 No.-
This study aims at demonstrating that the theory on Sogak 7 keys 俗樂七調 was established based on the Chinese theory of Sogak 俗樂, and to set up a theoretical framework for the musical scales of hyangak 鄕樂. Sogak 7 keys in Akhak kwebŏm 『樂學軌範』 is explained based on two systems. One pertains to 12 yul 律 7 keys divided into 7 units, including hwangjong 黃鍾, taeryŏ/t'aeju 大呂/太簇, hyŏpchong/kosŏn 夾鍾/姑洗, yubin/ chungnyŏ 㽔賓/仲呂, imjong 林鍾, ich'ik/namnyŏ 夷則/南呂, and muyŏk/ŭngjong 無射/應鍾 of hyŏn‘gŭm/taegŭm 玄琴/大笒 (Akhak kwebŏm, kwŏn 卷7), and the other pertains to 7 yul 律 7 keys divided into 7 units including kosŏn, chungnyŏ, imjong, namnyŏ, ŭngjong, hwangjong, and taeryŏ of hyangbip'a/kayagŭm/taegŭm 鄕琵琶/伽倻琴/大笒 (kwŏn 卷1). Sogak 7 keys in the form of 12 yul 7 keys was established by accommodating the 48 basic scale systems (cho 調) of Chinese Sogak, and the Sogak 7 keys in the form of 7 yul 7 keys was set up based on the system of kongch'ŏkpo 工尺譜 (Chinese kung-ch'e notation). As shown above, the Sogak 7 keys in Akhak kwebŏm is based on the Chinese theory of Sogak, but each has a different background to its establishment. This paper proposes that the theory of Sogak 7 keys was based on the theory of Chinese Sogak because just as the theory of Aak 雅樂 was applied to Korean Aak according to the system of Aak and Sogak in China, the theory of Sogak was also applied to Korean Sogak. Sogak 7 keys is based on two systems, and the background to their establishment differs because the theoretical framework that was established through the accommodation of Chinese Sogak 48 Jo and kongch'ŏkpo. When establishing Sogak 7 keys theory, the theory of Chinese Sogak was accommodated, but only its basic sound system; an independent theoretical framework was set up through the reflection of the specific qualities of hyangak with regard to sŏnbŏp 旋法 (mode). 이 논문은 『악학궤범』 속악 7조 기본음(궁)이 중국 속악이론을 바탕으로 성립되었음을 논증하여 향악 악조의 이론 체계를 올바로 수립하는데 목적이 있다. 이 논문에서는 속악 7조의 기본음(궁)이 일곱 단위로 나뉘어 진 이유, 12율 7지형 속악 7조의 기본음(궁)이 두 율씩 결합되어 있는 이유, 7율 7지형의 기본음(궁)의 성립 근거, 1지의 기본음(궁)이 협종·고선 혹은 고선인 이유 등을 밝힘으로써 속악 7조의 기본음(궁)이 중국 속악과 관련 있음을 밝혔다. 먼저 속악 7조가 7단위로 구분된 것은 중국 속악 28조가 7궁인 것과 관련있다고 보았다. 중국 속악의 7궁은 황·대·협·중·임·남·응의 7궁이다. 그럼에도 12율 7지형의 1지·2지·횡지·우조·막조의 기본음(궁)이 두 율씩 결합되어 있는 것은 중국 속악 28조와 중관 20조의 관계 때문이다. 중국 속악 7궁 가운데 대·협·중·남·응의 5궁과 중관조 태·고·유·이·무의 5궁의 속악조의 명칭은 동일하며, 이 결합된 형태는 황/대·태/협·고/중·유/임/이·남/무·응의 12율 7지형의 기본음(궁)과 일치한다. 이와같이 속악 7조의 기본음(궁)이 일곱 단위로 나뉘는 것과 12율 7지형의 1지·2지·횡지·우조·막조의 기본음(궁)이 두 율씩 결합되어 있는 점이 일치하는 점에서 속악 7조와 중국 속악조가 관련이 있다. 7율 7지형도 기본음(궁)이 일곱 단위로 나뉘어 있는 것은 중국 속악 28조가 7궁인 것과 관련 있지만, 기본음(궁)은 공척보와 관련있다. 『악학궤범』 오음율려28조도설에서 12율을 여덟 자로 지시하는 공척보를 중국 속악조 궁에 맞추어 일곱 자로 줄여 7궁에 맞추고, 중국 속악조의 7궁과 공척보의 일곱 자를 연계하여 설명하였으나, 勾(유빈)와 관련하여 볼 때 공척보는 7율 7지형과 관련있다. 7율 7지형의 기본음(궁)이 공척보의 高字 기준 음렬과 일치하지만, 음과 음계의 생성 및 변화와 관련된 하치음계 혹은 정률악기 피리의 음고와도 일치함을 알 수 있다. 즉 공척보의 여덟 자가 일곱 자로 줄어드는 과정, 정성음계의 유빈이 중려로 대치되어 하치음계가 발생하는 현상, 정률악기 피리의 음에서 유빈이 사용되지 않는 문제 등 음악사적 변천에 따른 결과와 공척보의 高자 기준 음렬이 일치하고, 이것이 7율 7지형의 기본음(궁)과도 일치함을 알 수 있다. 그리고 중국 속악의 궁 협종과 속악 7조 중 1지의 기본음(궁)의 관계를 통해 중국 속악과 『악학궤범』 속악 7조와의 관련성을 살펴보았다. 중국 속악 28조의 궁이 협종이고, 이것은 『악학궤범』 악조총의에서 속악의 초성이 협종이라고 한 것과 일치한다. 다만 중국 속악의 궁은 협종청성이고, 『악학궤범』 속악의 초성은 협종으로 옥타브 차이가 있다. 그리고 12율 7지형의 1지 기본음(궁)이 협종·고선인 것은 중국 속악조와 중관조와의 관련 때문이고, 7율 7지형의 1지 기본음(궁) 고선인 것은 중국 속악조와 중관조와의 관련 및 공척보와의 관련 때문이다. 이와같이 『악학궤범』 속악 7조 기본음(궁)의 성립 배경을 중국 속악조와 공척보 등 중국 속악 이론으로 본 이유는 『악학궤범』에서 향악을 속악으로도 인식하고, 이 속악(향악)과 중국 속악을 ‘속악’이라는 점에서 동일시 했기 때문이다. 속악 7조 이론을 수립함에 있어서 중국 속악 이론을 수용했지만, 기본음(궁) 체계를 수용했을 뿐 선법은 향악의 선법을 반영하여 독자적 악조 이론 체계를 수립했다고 본다.