대장암에서 Glucose Transporter Gene의 발현

이석환,박재훈,김윤화,오수명,윤충,주흥재,이기형 대한대장항문학회 2000 Annals of Coloproctolgy Vol.16 No.2

안무의 요소에 관한 연구

金和淑 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

Choreography is a creative behavior to make a work of art, particularly to express more fundamental things in dancing, so it is regarded as an activity of freedom in the ontological sense. That is, choreography is the creative art process in dance. Choreographic methods are as numerous as choreographers and works of dance. To yield a good work, necessary elements of choreography, - aesthetical principles, internal, external, external, and extra ,factors of dance composition-must be examined in detail. And necessary elements of choreography can be concretely presented as follows: 1. To create an excellent work, sequence (transition, continuty, flowing), variety(contrast, repetition, climax) and harmony (proportion, symmetry, balance) should logically develope and have a unity. These elements are the very aesthetical principles of dance composition. 2. The internal elements of choreography are the previous steps before forming a ow가 including the process of psychological demands, motivation, theme, exploration and observation (psychological, social and philosophical) about the object of theme establishment. Throughout these processes, choreographer can develope images of theme further with his creative improvement. 3. The external elements ;of choreography include improvision discovery of movement and processes of distinction and selection, through which choreographers develope movement languages, compose movements and finally make expressions. Good expression is good composition, and choreographers can develope their work further through imaging, transforming and forming. 4. Extra elements - music, costume, make-up, stage selection, props, dramatic elements and lighting - can heighten the effects of work if properly used.

청소년을 위한 무용교육, 무엇을 가르칠 것인가?

김화숙 韓國舞踊敎育學會 1997 韓國舞踊敎育學會誌 Vol.8 No.-

중등학교 제 7차 교육과정에 기초한 창작무용학습의 내용과 지도모형

김화숙 韓國舞踊敎育學會 2001 韓國舞踊敎育學會誌 Vol.12 No.1

The purpose of this study is to propose an effective teaching model for creative dance loaming in the secondary school. The results of this study are expected to offer helpful content composition and goal setting for physical education (or dance education) class based on the recent 7th curriculum reform. The framework used for this study is a dance art education, i.e., Midway Model (creative - performance - viewing), the core of recent dance education. The results of the study have been reached by examining and analyzing research trends and previous studies by dance educators. First, the author has applied to secondary school education the same criteria for the goals for creative dance leaming, set for elementary school education, that was used in her previous study(2000: 17). The goals of creative dance loaming are as follows: 1.Students can recognize and apply the elements of their body movements. 2.They can express their feelings and thoughts through their bodies. 3.They can apply to dance the materials and contents from other sufect. 4.They understand the principles and processes, and the composition of choreography. 5.They understand dance as a method for creative, performance, and viewing. 6.They understand and perform dance from the perspective of diverse cultures, histories, and times. 7.They can have a critical and analytic aHitude toward dance appriciation. Second, the contents of creative dance learning will be ideal when they are composed of the complete stage units of creative, performance, and viewing. 1.creative : body design, body aweless, movement application, improvisation, imagination, and composition with a theme. 2.performance : rehearsal, refining, and presentation 3.viewing : observation, explanation, interpretation, analysis, and evaluation. Third, a model for creative dance loaming in the secondary school is to be composed of the following seven stages : 1.warm up (introducing the concepts) 2.concept exploration (exploring and observing homework assignments, exchanging dance images and ideas, studying action words) 3.skill development (developing action skills, teaming and refining techniques) 4.composition (discovering and developing actions through improvisation; choosing and selecting actions; making action phrases; utilizing various aesthetic principles such as repetition, change performance, succession, contrast, balance, harmony, proportion, climax, and unity; logical development) 5.performance (repetition of practice; editing and complementing of work; poup presentations) 6.viewing (observation; discussion; evaluation) 7.cool down (bloating and wrap up; strectching and review of concepts; presenting research assignments) In addition, a class for "creation by themes" can be ideally conducted when it is planned and conducted not in a one-hour class, but in a three-hour class (first class : concept exploring and skill development, second class : work composition, third class : performance and viewing). The contents and the model for a creative dance teaming cLass presented in this study will be introduced to the secondary school teachers who participate in the annual workshop for dance teachers held by The Korea Dance Education Society. They will then be edited and complemented by feedback. Therefore, continuous research on the topic is essential in order to develop class programs that can be used in the actual classroom.

創作舞踊의 段階別 指導內容에 對한 硏究 : 中ㆍ高等學生을 中心으로

金和淑 圓光大學校 1982 論文集 Vol.16 No.2

This thesis aims to consider the syllubus of the creative dancing. to, illustrate its importance in the point of the college education of dancing, and to try to find the effective method to teach the creative dancing. The conclusions this study arrived at are following; 1. The crux of dancing in college education lies in the courses of the creative dancing. 2. Thus we have to put much emphasis on the creative dancing. 3. The syllubus of the creative dancing has to be carried out to the following steps; (A) body design, (B) expression by the contrast themes, (C) application of movement, (D) improvisation, (E) creation by themes. 4. The teacher's role is very important in carrying out the syllubus. The teacher has to help students to express their creative dancing and to connect their knowlege with the creativity. 5. The teacher has to consider the student's ages, educational surroundings, and individual differences when he applies the syllubus of the creative dancing to each class flexibly. 6. The teacher has to develop and apply the concrete syllubus suitable to the students' abilities and ages.

고등무용교육의 개혁방안

金和淑 韓國舞踊敎育學會 1997 韓國舞踊敎育學會誌 Vol.7 No.-

The purpose of this study is to realize some crises in the higher dance education and to present reform plans for it. For its desirable reformation, recognition of scholars engaged in the higher dance education must be preceded above all things. Because reformation is the educators' prior task. to solve problems more effectively, I think some educational conditions should be necessarily recommendations as follows: 1) Department of dance education needs more concrete classification and names. - department of Dance focusing on practical technique. - department of Choreography focusing on the process of creation and actual performance. - department of Dance Theories - department of Dance Education - department of Social Dance for ordinary people 2) Present curricula require re-evaluation and daring amendment 3) Studies of dance need reinforcement to introduce new academic fields of dance such as dance science, dance medical, somatics and dance wellness etc. 4) For the normalization of dance education, proper dance programs in accordance with the students' ages from the kindergarten to the high school must be established in the national standard(e.g. K-12 program in the U.S.A.) 5) Programs for connecting dance with health and various kinds of dance such as ballrooms for connecting dance with health and various kinds of dance such as ballroom dance, jazz dance, tap dance, aerobic dance and so on need to be included in the present curricula. 6) To diffuse special dance programs in the Liberal arts education, educators should be their best to make the university and persons concerned understand them. 7) Establishment of qualification system in urgent. - certificate of qualification for child dance education - certificate of qualification for elementary dance education - certificate of qualification for middle school dance education ("dance major" should be marked on the present certificates of physical educators) - certificate of qualification for social dance instruction - certificate of qualification for professional dance instruction (such as given to the instructors and managers of dance institutes) 8) The graduate school curricula must be classified into those for master's degree of dance and doctorate of dance science focused on the dance theories, and those for M.D. of dance art focused on practical dance techniques. And the curricula of the graduate school of dance education should include educational programs for cultivating dance educators. 9) Resolute improvement of the existing entrance examination is demanded. Through the establishment of certain organizations like "technical examination committee"(tentative name), the examination system must be analyzed in depth and jointly studied. 10) Dance library and dance information center should be employed, and relevant research institute should be established inside the university. 11) Materials for audio-visual education need development - spread of dance repertoire - making videos for dance education 12) By establishing some organizations like "Dance Education Development Committee"(tentative name) composed of educational public service employees, dance teachers and university professors of dance, a momentum to set up proper educational operations and strategies should be provided.

초,중등 무용교과 독립의 정당성과 방향성 연구

김화숙 韓國舞踊敎育學會 2004 韓國舞踊敎育學會誌 Vol.15 No.2

This study aims to establish a concrete basis for an answer to a question why the separation of dance curriculum is required for normalization of dance education. To this end, we investigated problems of dance education that is being carried out in elementary and secondary schools under the current 7th curriculum in Korea and examined the trend of global art education. Since dance is currently treated as a part of physical education curriculum from the third grade in elementary school through high school, it can hardly achieve its original goals. Dance classes are taught by teachers with physical education teaching certificates; therefore, it is less likely for dance education to achieve its specificity. In elementary and secondary education aiming at education for the whole man, art must be made a compulsory course, not an elective course. All students have the right to be taught art education. Dance, which is now handled in physical education subject, should be made independent as an art course, and it should be taught by dance specialists. When the following problems of Korean dance education are institutionalized by administration system, we could expect normalization of dance education. 1.Separate dance subject and adopt 'art7(dance, fine art, music, play) as every citizen's common subject. 2.Establish the nation's standards for dance education. 3.Introduce an independent system of 'dance teaching certificate' for dance department graduates. 4.Operate a 'dance-exclusive teacher system' in elementary school. 5.Revise statutes concerned (elementary and secondary education law enforcement ordinance). The current climate for education overly stressing scientific knowledge for production is apt to give rise to students' emotional deprivation. Art education, which is like fresh-water to them, will be able to pull out their potentiality that is hidden deep inside and to develop their ability to express themselves and their creativity. Furthermore, it is educators' responsibility that provides students with an environment where they can receive a richer and more practical education by approaching diverse cultures and arts of their historical inheritance. To provide students with opportunities of experiencing diverse art genres through school education is a paradigm for a new art education that is essential in this age and a demand for education in the 21st century.

한국인 6-17세 아동의 성장과 발육에 관한 준종단적 연구 : 제 1 세부과제: 치열궁의 성장 변화 Part Ⅰ: Growth and Development of Arch Form

손병화,김형순,이정구,김석현 대한치과교정학회 1996 대한치과교정학회지 Vol.26 No.3

본 연구는 한국인 남,녀 6세에서 17세 사이의 악안면 성장과 발육에 관한 준종단적 연구의 일부로 시행되었으며 3년간에 걸쳐 남,녀 아동 736명을 대상으로 치열궁의 성장변화를 관찰하고자 치아의 근원심 폭경, 견치간 폭경, 구치간 폭경, 견치 치열궁 장경, 구치 치열궁 장경 그리고 치열궁 주위경을 측정하여 연령별, 성별 평균과 표준편차를 구하고 도표로 표시하여 다음과 같은 결론을 얻었다. 결론 1. 치아의 근원심 폭경 측정에서 상악은 중절치, 제2대구차, 하악은 견치, 제2대구치에서 남,녀 성차이를 인정 할 수 있었다. 2. 견치간 폭경은 11세까지 완만히 증가하는 양상을 보였다. 3. 구치간 폭경은 상악에서는 지속적으로 증가하는 양상을 보이며 그 양상은 9세에서 14세사이에서 가장 두드러지게 나타났다. 하악에서는 9세까지는 다양한 변화를 보이며 이후 14세까지 다소 증가하는 경향을 보였다. 4. 견치 치열궁 장경은 상악에서는 13세까지, 하악에서는 11세까지 증가하는 양상을 보였다. 5. 구치 이열궁 장경은 남자에서는 10세, 여자에서는 9세까지 증가하는 경향을 보이며, 이러한 변화는 상악에서 더 뚜렷하게 나타났다. 이후 상하악 모두에서 감소하는 경향을 보이며 이는 상악에서는 15세, 하악에서는 12세 사이에서 두드러졌다. 6. 치열궁 주위경은 상,하악 모두 10세까지 증가하는 경향을 보이며 그 양상은 상악에서 더 크게 나타났다. 반면에 10세와 14세 사이에서는 감소하는 경향을 보이며 그 양상은 하악에서 더 크게 나타났다. This study was carried out as a part of the semi-longitudinal study on growth and development of Korean children with purpose of observing the growth change in arch form, 736 pairs of study models were taken for 3 years, Mesio-distal diameter of each tooth, intercanine width, intermolar width, canine arch depth, molar arch depth and arch perimeters were measured. Afterwards, mean value and each standard deviation of each age group and each gender were obtained, and corresponding graphs were drawn. The following conclusions were obtained: 1. Mesio-distal diameters of maxillary central incisor, maxillary 2nd molar, mandibular canine, and mandibular 2nd molar showed statistical differences between boys and girls. 2. Intercanine width shows a gradual increase until age of 11. 3. Intermolar width in maxilla shows continuous increase, and the tendency of increase is more apparent between age of 9 and 14, In mandible, various pattern was shown until age of 9,and after, a slight increase. 4. Canine arch depth shows the increasing tendency until age of 13 in maxilla and 11 in mandible. 5. Molar arch depth shows the pattern of increase until age of 10 in male and 9 in female, which is more apparent in maxilla. After age of 9 or 10, dereasing pattrn was significantly shown until age of 15 in maxilla and age of 12 in mandible. 6. Arch perimeters in maxilla and mandible showed gradual increase until age of 10, and the tendency of increase was more apparent in maxilla; however, between the age of 10 and 14, arch perimeters of maxilla and mandible showed gradual decrease which was more apparent in mandible.

쌓기 활동에서 유아들의 친 사회적 행동 출현에 대한 맥락적 이해

박화윤,마지순,최재숙 한국영유아보육학회 2002 한국영유아보육학 Vol.0 No.31

The purpose of this ethnographic study is to explore the emergent context of prosocial behavior and to find the children's character promoting of prosocial that within the area of block. The result are as follows: 1) It appeared that emergent context of prosocial; behavior is completion of structures, participation of symbolic play using them and clean-up. 2) It appeared that children's character promoting prosocial behavior that appearence of altruism by children's perspective-taking, exchage of idea and problem-solving.

무용(학)과 졸업생 진로문제의 방향 모색을 위한 무용(학)과의 체제분석

김화숙 韓國舞踊敎育學會 1993 韓國舞踊敎育學會誌 Vol.3 No.-

I attempted to analyse the present conditions and the state of employment of Dept. of Theory in Dance and the Dance Education system in order to search for the direction of a course in job of graduates of Dept. of Theory in Dance(or Dept. of Performing Art in Dance). (1) The nature of Dept. of Theory in Dance is definitely different from that of college belonged to. In the title of Dept.'s name, the Dept. of Theory in Dance belongs to 15 colleges. And also according to analysis of their curricula, we never find the different properties between Dept. of Theory in Dance and Dept. of Performing Art in Dance. (2) The technique classes and the theoretical classes of Dept. of Theory in Dance(of Performing Art in Dance) is the ration of 90 to 10. But the existing curriculum between the technique classes and the theoretical classes is the ration 43 to 57. The theoretical education on the Dance is too much weak now. We have only 3.8 professors among 160 students each department. We must secure more professors. (3) The fields of employment are to become a member of professional ballet dancers, to enter the graduate school, to become a teacher of middle or high school, to operate the provate dance academy and to become an instructor of the Dance Academy. The number of employments in this field is definitely little, compared to the graduates of 940 a year. So the development of curriculum that broadens the activity of graduates from Dept.. of Dance is necessary. (4) The education of dance doesn't be taught the levelled classes from elementary school to high school. And the professionalization of dance teacher is weak. In order to solve the above problems, lif the suggested systematic improvement is made, the employment of the graduates of Dance. Dept. will be made very easily. (1) As the elementary school employs full-time art and physical fitness teacher(music, fine arts and physical education), so full-time dance teacher has to be employed in the system of full-time teacher. (2) The dance class which is operated as part of physical exercise in middle and high school must be independent of physical exercise, and be regular class. At the same time, boy students will have to revive dance classes. (3) The teacher's license ofr physical education given the graduates of Dept. of Theory in Dance(of Performing Art in Dance) must be changed into the teacher's license for dance education. (4) The Dept. of Dance education that disappeared in 1982 must accept in the National Teachers University, and to bring up the dancing leader, the establishment of Dept. of Dance Education must be made in the education graduate school. (5) The Dept. of Theory in Dance and Performing Art in Dance must subdivide into three kinds of Dept. of Performing Art in Dance, of Theory in Dance and Dept. of Dance Education. The aim of education must be clearified each departments. And also the curriculum proper to the object of education must be intensively devised and operated.