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- 저자 : 권옥희(Ok Hee Kwon) (검색결과 5 건)
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알코올을 이용한 흉부교감신경절차단술에 대한 임상경험 및 합병증
권옥희(Ok Hee Kwon),김종일(Jeng Il Kim),반종석(Jon 대한통증학회 1995 The Korean Journal of Pain Vol.8 No.2
Percutaneous neurolysis of upper thoracic sympathetic ganglion was performed by simulta- neously injecting 3ml of pure alcohol into the T, and T; levels after testng with same amount of local anesthetics on the same sites. We experienced poor sympatholytic effect or intercostal neuritis and Horner's Syndrome as the result of complication of thoracic sympathetic ganglion block. In Case l, in spite of the good testing result, neurolytic block effect was poor. In Case 2, intercostal neuritis occurred, but neuralgia subsided within 3 weeks. In Case 3, Horners Syndrome occurred for 1 day. To increase the success rate of block and decrease the incidence of complications, good radio-opaque dye appearance and good test block effect should be obtained.
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존재론적 시각에서 본 춤과 몸의 관계성 연구 : 거울 이미지를 통한
권옥희 韓國舞踊敎育學會 2005 韓國舞踊敎育學會誌 Vol.16 No.1
The function of phenomenon is that describe the real world which we live and go through. Therefore the philosophy of body has to start from ordinary life where you are actually from. In understand of dance body, body as a principal of perception is not simple material figure or representation of consciousness. It has open structure in interpretation wise. In addition, one who dances recognizes everything by body perception and the body is a tool to having a open experience. In other words, accomplishments of appearance in dance is based on movement between body and body instead of mental or consciousness. So that is just about merging into a body. Dance is a body movement that expresses invisible essence to visible. There are many different style what is made by various interpretation which is derived from perception. Also the style of dance allow to have an experience ontological identity between dancer and world by dancer's view, and express the world's way of existence what dancer experienced. So dancer deliver a way of understanding the world through a piece of work. Dance as art work, that is not object what can be existed itself. The dance is always based on our perception, body and world, besides as body belongs in this world, also dance can be significance in this world. For dancer who makes dance as an art work, a mirror is considered as behavior's mirror. This is act of cognition that self, recognizing the principal body by others. As well as, that is considered as oriental symbol of self-moral culture beside mirror for self-perception(mirror as a well from narcissism). As reflecting another image of oneself, dancer's mirror means self unification instead of dissolution. world's mirror on stage is not an individual mirror. Mirror is closer to nature's mirror, but not just a mirror made of mineral. Consequently, mirror of a dancer functions as self-reflection by ironic relationship between a routine, which is training body, and an ideal, which comes from the training.
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권옥희 韓國舞踊敎育學會 2004 韓國舞踊敎育學會誌 Vol.15 No.2
Education is aimed to assist in having humanities which mean the existence as a human beings. Existence is a understanding of self reality that has right perception in terms of the existence as "a value creator." The perception of the value creator is to cognize that self is just the master and the person concerned who must feel, think, determine and find out how to live. Again, it is a understanding of being as the master who realizes and creates self lifetime. To examine the educational meaning and nature of the understanding and cognizance, this study was carried out by approaching dance education from the viewpoint of Merleau-Pont/s "The World of Body" and "Phenomenology of Body." In addition, this study was conducted to examine the concept of essential acknowledgement of phenomenology and to understand why the essential acknowledgement has to be educated in dance education, in order for dance education to aim toward aesthetic meaning in ordinary life. Moreover, Merleau-Ponty s perception of body, tendency, action, understanding of expression, and their meaning in dance education from the view point of phenomenology, were analysed as an original aesthetic experience. It has been a problem with dance education that dance is educated only focusing on the motions or technical training of body. The problem just means that the dance education's basic features must be apparently recovered to its education based on the essential acknowledgement. The reason the essential acknowledgement is important for dance education is because it is an experience-based method of understanding pursuing existence's characteristics and meaning in our experience of life. The essential acknowledgement is a cognitive method for making the world's essential be spontaneously exposed and its meaning is recognized in life. It is required for dance education, therefore, to be the education of essential acknowledgement which helps cognitive understanding, and to be more systematically educated with intentional concerns. It should not be simply the technical education of body, but be understood and developed as education helpful to understanding the meaning of life and mental richness. Dance education, therefore, must be understood and practiced as the education with dialectically interacting real experience, based on the fundamental fact that it is composed of the processes of students' world of life and the dance expressed by the body.
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