중국어 교육 상에서의 몰유(沒有) 비교구문 고찰

사은영 영남중국어문학회 2005 중국어문학 Vol.0 No.45

<사랑가> 연창의 변화양상

사은영 한국전통공연예술학회 2022 한국전통공연예술학 Vol.7 No.-

『춘향전』 中 춘향방 그림사설의 변화 양상과 의미

사은영 어문연구학회 2019 어문연구 Vol.102 No.-

춘향방 그림사설은 『춘향전』의 초기 이본(異本)들에서부터 출현하여 오랜 시간을 거쳐 그림의 종류, 그림이 걸린 위치, 그림의 기능이 다채롭게 변화되고 있었다. 따라서 춘향방 그림사설의 변화를 이끌어냈던 근본원인에 집중하여, 춘향방 그림사설의 변화에 따른 새롭고 특별한 경험들이 주는 의미를 파악하였다. 춘향의 방은 춘향의 취향과 성격을 설명하고 이도령과의 첫날밤을 치르는 중요한 서사 공간이다. 이 공간에 그려진 춘향방의 그림들이 19세기 전반부터 문인화에서 민화로 그 종류가 변하였고, 그림이 걸린 위치 또한 방안에서 집안으로, 그리고 다시 방안으로 이동하였다. 그림의 종류와 위치의 변화는 감상화-길상화-유희화-주제화로 그림의 기능을 변화시키며 19세기 『춘향전』 향유층에 춘향방의 그림에 담긴 새롭고 독특한 경험과 가치를 전달하였다. 춘향방 그림사설의 변화과정에서 주목할 점은 19세기 전반 문인화에서 민화로의 전환, 집안을 장식하던 생활 치레물이 19세기 중반 방안 장식화로의 전환, 그리고 19세기 중반 가장 번성했던 그림사설이 19세기 후반 이후로 점차 축소되었다는 것이다. 이러한 변화의 의미는 19세기 전반부터 판소리와 판소리 소설 향유층이 중인계층을 중심으로 저변화되고 있음을 보여주었다. 또한 그림들의 나열을 통한 공간묘사방식과 중국인물 중심의 고사인물도류의 그림소재는 중국문학의 영향을 받은 것이었다. 그러나 춘향방 그림사설은 『춘향전』 서사의 주제를 ‘烈’로 교조화함에 따라 축소·소멸되었다. 춘향방 그림사설은 오랜 시간 동안 전승되고 향유되었던 경쟁력 있는 사설로 시간의 흐름에 따른 사설변화를 추적할 수 있었고, 시대변화에 맞춰 가장 선호되던 방식을 그림사설에 반영하고 있었다. 따라서 춘향방 그림사설의 변화 양상과 의미는 『춘향전』 서사의 변화방향과 그 원인을 설명해 줄 수 있을 것이다. The kinds of pictures, the location of the pictures and the functions of the pictures of Chun-hyang room's painting Saseol have been changing in various ways during long time from the different versions of Chun-hyangjeon to now. Therefore, it was necessary to focus reason leading to change of Chun-hyang room. In line with this, this study analyzed the meaning of new and special experiences caused by the change of Chun-hyang romm's paintin Saseol. Chun-hyang's room explains the personality and characteristic of Chun-hyang. Also, it is an important narrative space for the first night with Lee Doryung. It changes from Muninhwa to Minhwa in painting displayed in Chun-hyung room from the first half of the 19th century. The position where the picture is sequentially placed moved in the room and in the house, again in the room change of type and position of painting alters the function of painting to Gamsanghwa-Gilsanghwa-Yuhuihwa-Jujehwa. Based on this change, the value of the new and unique experience of Chun-hyang room's paintings in Chun-hyang jeon written in the 19th century is contributed to reader's desires. The striking change in Chun-hyang room's painting Saseol is the conversion of Muninhwa paintings to Minhwa in the first half of the 19th century, and the conversion of living items, which use to decorate the house in the middle of the 19th century, to room decoration paintings. In th late 19th century, the most prosperous painting Saseol gradually diminishes. This change suggests an increase in the status of readers of Pansori and Pansori novels. In addition, based on the space description method using the arrangement of paintings and the painting materials of the ancient pottery paintings centered on Chinese people, it seemed to be influenced by Chinese literature. However, paintings Saseol shown in room of Chun-hyang was reduced and disappeared because the theme of Chun-hyangjeons changed to ‘Lyeol(烈)’. Chun-hyang room's painting Saseol has been handed down for a long time and it can be studied as a competitive Saseol. In particular, the most preferred method during the changing times was reflected in the painting Saseol, which indicated that change of Saseol can be studied in time-dependent. In the context, change pattern and meaning of Chun-hyang room's painting Saseol is able to explain the cause and the direction of change of Chun-hyangjeon.

농인의 수어 이름 특성과 수어 이름에 대한 농인 당사자의 경험적 의미

사은영,고은,김정현 한국청각언어장애교육학회 2023 한국청각·언어장애교육연구 Vol.14 No.1

The purpose of this study is to investigate the characteristics of farmers' sign names from an agrarian cultural perspective and the empirical meaning of farmers' sign names. To this end, a survey was conducted among 34 deaf people living in Jeollanam-do, and individual in-depth interviews were conducted with six research participants. The general characteristics of sign language names were analyzed, and it was found that there were 19 types in total, and that most of them were performed on the face and head. In addition, manuals were mostly repeated or fixed in place, and more than 90% of women's names had gender markers. In terms of the generation characteristics of sign language names, most people have only one sign language name, they tend to acquire their names after entering agricultural school, and the appearance or physical characteristics of the named person are the most common inspiration for the creation of sign language names. In terms of Deaf people's attitudes toward their names, the majority of Deaf people are positive about their names and feel proud of them because they reflect their identity as Deaf people. For deaf people, sign language names have more than just a naming value, as they give them a sense of belonging as a member of the farming community. 본 연구는 농문화적 관점에서 농인의 수어 이름의 특성과 농인 당사자의 수어 이름에 대한 경험적 의미를 알아보는 데에 목적이 있다. 이를 위하여 전남지역에 거주하는 34명의 농인을 대상으로 설문 조사를 하였으며, 6명의 연구 참여자를 중심으로 개별심층면담을 실시하였다. 수어 이름의 일반적 특성을 분석한 결과 수형은 모두 19가지였으며, 수위는 대부분 얼굴과 머리에서 이루어지는 것으로 나타났다. 또한 수동은 대부분 제자리에서 반복되거나 고정되는 형태였고 여성의 경우 90%이상에서 수어 이름에 성별 표시가 있는 것으로 나타났다. 수어 이름의 생성 특성에 있어서는 대부분 1개의 수어 이름을 가지고 있으며, 농학교에 입학한 후 이름을 갖게 되는 경향을 보였으며, 피명명자의 외모나 신체적 특성이 수어 이름을 작명하는 데에 가장 많은 영감이 되는 것으로 나타났다. 수어 이름에 대한 농인의 태도에 있어서는 수어 이름에 대해 대부분 긍정적으로 받아들이고 있었으며 농인으로서의 정체성을 반영한다는 측면에서 이름에 대한 자부심을 느끼고 있는 것으로 나타났다. 농인이 경험하는 수어 이름은 농사회의 구성원으로 소속감을 지각하게 된다는 점에서 명명하는 이름 그 이상의 가치를 가지고 있다고 할 수 있다.

김창룡 방창 ‘정춘풍 「화초타령」’의 실상과 가치

사은영 판소리학회 2019 판소리연구 Vol.48 No.-

This purpose of this study was to understand a musical difference between HwachoTaryeong Bangchang of Jeong Chun-pung sing by Kim Chang-ryong and HwachoTaryeong Jachang of Kim Chang-ryong. Hwachotryeong Bangchang of Jeong Chun-pung sing by Kim Chang-ryong focused to a richly express, an emotion of Cheonja based on a wide range, an unaltered interfacial tone scale, a lively breathing and Sigimsae. These features shown in Bangchang enoughly contained a life and aesthetics of period living in Jeong Chun-pung, the private composition that characterizes the performance society like Chi(癡), the singing method like Hui(戱) and a psychological description like Sil(實). Kim Chang-ryong Jachang applied the scale, the similar Sigimsae to Hwachotaryeong Bangchang of Jeong Chun-pung and Dongilsaseol. However, Hwachotaryeong sing by Kim Chang-ryong was distinguished by expressing monotonous and dried emotion using narrow tones, regular breathing for 2 minim/beat, disagreement between short and long, in compared to Hwachotaryeong of Jeong Chun-pung. This difference was considered to characteristics of the performing society During the activity period of Kim Chang-ryong. Therefore, Bangchang and Jachang of Kim Chang-ryong with different musical personalities converted the aspect of interpretation on process of succession and change of Deoneum to the historical and cultural environment, but not a judicial aspects. According to the change of character of <Shimcheongga> by providing a clue that tracked The reality of Hwachotalyeong which is the best deoneum uchundae of <Shimcheongga>, it will be an important reference point to grasp the temporal flow of 『Shimcheongjeon』. 본고는 김창룡이 방창(倣唱)한 정춘풍 「화초타령」과 동일사설의 김창룡 자창(自唱) 「화초타령」이 음악적으로 ‘어떻게’ 다르게 표현되었는지에 초점을 맞춰 분석 한 후, 그렇다면 ‘왜’ 다른가에 주목을 하였다. 김창룡은 정춘풍 「화초타령」을 방창함에 있어 넓은 음역, 변질되지 않은 계면조 음계, 생동감 있는 호흡과 시김새를 사용하여 꽃을 감상하는 천자의 감정을 풍부하게 표현하는데 중점을 두었다. 방창 음원에 보이는 이러한 특징은 정춘풍이 활동했던 시대의 삶의 모습과 미의식, 그리고 공연사회의 특징인 치(癡)적인 사설 구성, 희(戱)적인 가창 방식, 실(實)적인 심리 묘사를 충분히 담아내고 있었다. 그러나 김창룡 자창 「화초타령」은 정춘풍과 동일사설과 음계, 유사한 시김새를 사용했지만, 김창룡은 좁은 음역, 2분박 위주의 규칙적 호흡, 장단과 사설의 불일치를 통해 감정을 단조롭고 건조하게 표현함으로써 정춘풍 「화초타령」과 분위기를 구별지었다. 이러한 차이점은 김창룡이 활동하던 시기의 변화된 공연사회의 성격을 반영하는 것이었다. 따라서 음악적 성격이 다른 김창룡의 방창·자창 「화초타령」은 더늠의 계승·변화의 과정을 유파적 관점에서 시대적·문화적 환경이라는 맥락으로 해석의 관점을 전환시키는 계기를 마련하고, 우춘대 「화초타령」의 실상을 추적하는 단서를 제공하여 <심청가>의 성격변화에 따른 『심청전』의 통시적 흐름의 변화를 파악하게 할 것이다.

신재효 <광대가(廣大歌)>를 통해서 본 방진관 <적벽가(赤壁歌)>의 연극성(演劇性)

사은영 ( Sa Eun Young ) 판소리학회 2018 판소리연구 Vol.45 No.-

본고는 근대 5명창보다 더 고제의 음악을 간직한 창자로 알려진 방진관 음원의 정체성에 대한 의혹을 방진관 <적벽가>에 신재효 <광대가>에 수록된 사대법례의 조건을 적용하여 연극성의 관점에서 파악하여 보았다. 본문의 내용을 요약하면 다음과 같다.첫째, 방진관 음원 속 해금, 퉁소, 가야금, 장고와 같은 악기반주는 전통적인 극의 관행이었음을 여러 도상자료와 문헌자료를 통해 검증해 보았으며, 특히 《가도도》(1623, 1725)에서 삼국지의 내용을 극으로 재현하던 문화, 《수락산흥국사감로탱》(1868)에서 방진관음원 악기반주와 동일편성의 악기반주에 따른 판소리 창자의 연행활동에 주목하였다. 따라서 악기반주는 극의 노래 및 너름새를 효과적으로 표현하던 장치였음을 확인하였다.둘째, 방진관 <적벽가>의 문어체적인 사설은 방진관 집안 소리책인 방만춘 창본이 소설을 윤색·개작하여 사용했던 전통을 이은 것으로 보고, 18-19세기 소설책이 향유되던 문화를 문헌자료를 통해 살펴보았다. 결과 유최진의『병음시초』<정미집>(1847)에서 창우가 설(說)을 극(劇)으로 연설(演說)하던 문화가 있었음을 알 수 있었으며 창우들의 극은 창(唱)+말(白)+연기(科)의 형식을 갖춘 것으로, 18세기 중인계층이 소설을 음악적으로 향유하던 송(誦)이나 전문적인 이야기꾼이 소설을 강(講)하던 방식과는 구분되었다.셋째, <조군자탄>은 말하는 듯이 노래하면서 신세한탄을 하고 있다. 그는 강한 강세를 사용하여 깜짝 놀란 행동의 묘사와 화난 감정을 사실적으로 표현하고 있는 데, 이는 사설내용의 핵심을 현실에 대한 불만으로 파악한 방진관의 극적 해석방법으로 보인다. <삼고초려>의 경우, 사용 음역대를 달리하여 인물들의 외관을 섬세하고 사실적으로 묘사하였고, 넓은 음역대는 사건전개를 풍부하게 표현할 수 있었다. 또한 순차적으로 음고를 높여 진행하는 기법, 현악기에서 주로 사용하는 음을 누르고 구르고 미는 시김새, 글자의 모음부분을 강조하는 표현법이 이곡의 분위기를 우아하게 이끌었으며, 긴 호흡의 장단은 음악을 유장하게 느끼게 하였다. 한편 모음을 강조하는 표현은 무의미한 음의 굴곡이 아니라 인물의 행동과 감정을 표현하는 연극적 효과로도 활용되고 있었다. 따라서 <조군자탄>과 <삼고초려>는 화가 난 등장인물의 상황을 서로 다른 표현 방식으로 묘사하고 있으나, 각각 사설의 내용 전달 및 표현을 최적화하기 위해 논리적으로 치밀하게 짜여져 있어 사실적 이면(裏面)에 맞는 극음악의 성격을 전달하고 있음을 확인 할 수 있었다.넷째, 세상의 변화와 눈앞의 이익에 동요되지 않고 본인의 작품을 꿋꿋이 지켜왔던 방진관의 음악인으로서 삶의 자세를 광대가 갖춰야할 첫 번째 요건인 원원(元元)한 속판을 가진 인물치레의 조건으로 파악해 보았다. This paper deals with the questions surrounding the identity of the pansori singer Jin-kwan Bang, who is known for preserving the more ancient forms of pansori, even when compared to the five modern masters of the art form. The questions are approached from a theatrical point of view, applying conditions from four explanatory notes, from Jae-hyo Shin’s “Gwang-dae-ga” (Song of the Clown) to Jin-kwan Bang’s “Jeok-byeok-ga.” The contents of this paper can be summarized in four main points as below.First, I verified, through various image-based and literary data, that the accompaniment of musical instruments (such as Haegum, Tungso, Gayageum, and Django) in Jin-kwan Bang’s music used to be common practice in traditional drama music. I specifically focused on “Gadodo” (1623, 1725), in which the contents of “Samkukji” (the history of the three states) were reenacted as a play, and on the performance of its pansori singer, who was accompanied by Jin-kwan Bang’s instrumental piece in “Suraksan Heungguksa Gamrotaeng” (1868). The instrumental accompaniment was found to be a device that effectively expressed the song and the spread-out of the play.Second, I developed the hypothesis that the literary style of the “Jeok Byeok Ga” was based on the tradition of Man-chun Bang Changbon (the sori-chaek of the house), who embellished and amended novels. Hence, I turned to literary sources for further research on the popularity of novels in the 18th and 19th centuries, and found that in 『JungmiCollection』(1847) by Choi-jin Yu, there was a culture where the Changwoo told a story in the form of a play . The plays of the Changwoos followed the form Chang + words + acting, which was distinct from the manner in which the Joong-in class sang the novels from “Song,” and also from “Gang,” which was how professional storytellers told stories.Third, “Jo Goon Ja Tan” is a song lamenting life, which he sings in the manner he speaks. He uses strong emphasis to emote surprise and anger realistically. This seems to be a dramatic interpretation of the song by Jin-kwan Bang, who identified the core concept of the song as a complaint about reality. In “Sam Go Cho Ryeo,” he varied the range of his voice to intricately and realistically depict the appearance of the characters in the play; his wide vocal range allowed him to richly express the development of events. Furthermore, his employment of the technique of progressing sounds sequentially by distinguishing the vowels and consonants, the Shigim-sae technique (an expression of pushing, nudging, and rolling the notes), which is mainly used when playing string instruments, and emphasis on the vowels of words, lend elegance to this song. The deep breaths of rhythm give the song a leisurely feeling. Vocal expressions emphasizing vowels were used as dramatic methods of expressing the actions and emotions of the characters, rather than being just meaningless modulation of sounds. Thus, although “Jo Goon Ja Tan” and “Sam Go Cho Ryeo” describe the characters’ anger through two different musical techniques, it has been proved that they both optimize the delivery and expression of their respective stories, realistically, dramatically, and musically.Fourth, as a musician who has not been disturbed by the changes in the world around him, and has steadily kept up the quality of his work, Jin-kwan Bang’s personality can be summarized as being plain yet people-friendly ‘won-won sokpan’, and this is the first criterion to becoming a successful Gwang Dae.

패션모델의 영역확대에 관한 연구 –모델테이너 활동을 중심으로

사은영(Sa, Eun-Young),최정은,정여아 한국모델콘텐츠학회 2021 한국모델콘텐츠학회지 Vol.2 No.2

본 연구는 전문화되어가고 있는 패션모델의 모델테이너 활동을 학문적으로 규명하는데 목적을 갖는다. 연구를 진행하기 위한 방법으로 문헌연구와 패션모델과 학생대상 인식조사, 업계전문가로 구성된 5인의 심층인터뷰를 병행하였다. 연구를 진행한 결과 현재 모델테이너의 활동특성은 다음과 같다. 패션모델들이 직업 수명을 연장하는 하나의 방편으로 방송이나 영화로 활동영역을 확장하여 활동했던 과거와는 달리 현재는 패션모델로서의 본질을 지킴과 동시에 다양한 활동을 병행하며 ‘multi modeltainer’의 역할을 수행하는 것으로 특성이 나타났다. 따라서 활동영역확대 시기도 패션모델경력 3~4년 정도로 비교적 빨라졌으며, 패션모델의 신체조건과 커리어는 활동영역확대에 있어 완전한 강점으로 작용하고 있었다. 더불어 방송환경의 변화 즉, 채널의 증가와 새로운 콘텐츠의 생성, 케이블방송 채널의 인기는 많은 엔터테이너를 필요로 하고 있으며, 전 세계적 美의 동질화는 ‘한류’의 영향을 받아 모델테이너들의 역량을 글로벌 무대에서도 경쟁력 있는 엔터테이너로 성장시킬 것으로 전망하고 있다. 따라서 현재 모델컴퍼니와 전략적 제휴 또는 MOU를 맺거나 다수의 모델테이너를 보유하고 있는 엔터테인먼트 회사는 상당한 이슈가 되고 있으며, 모델테이너를 체계적으로 교육 및 매니지먼트 함으로써 산업적 기능을 수행하고 있는 것을 통해 상당히 긍정적인 전망을 갖고 있는 것을 확인 할 수 있었다. This study aims to academically define fashion models’ activities and performance as modeltainers, which are currently being specialized. As methods to develop the research, the study reviewed literature, conducted an investigation on understanding of students majoring in fashion model studies and had in-depth interviews, at the same time, with a group of five experts in the field. Characteristics of the modeltainers’ present performance that this study has found out are presented as follows. In the past, fashion model had once tried to lengthen their occupational lifespans by approaching fields of broadcasting and films, but it was only a temporary work. Now, at present, however, the study learned that the fashion models are fulfilling their roles under the name of ‘multi modeltainers’ in diverse fields as still keeping their originality as the fashion models. After all, that became a cause to move up debuts of the fashion models into the other fields, and they advance into the different worlds only three or four years after they start working as fashion models. Physical conditions and careers of the fashion models are operating as the complete advantage when the models are trying to expand their work boundaries. In addition, changes in the broadcasting environment such as increase in the number of channels, creation of new contents and growing popularity of cable channels are asking for even more of the entertainers, and the study forecasts that with the help of ‘hallyu’, homogeneity of the global beauty will contribute to improvement of the modeltainers’ abilities to cultivate the fashion models themselves as competitive entertainers in the international stage. As a consequence, these entertainment companies that have concluded strategic contracts or MOUs with model agencies and multiple modeltainers are being quite a huge issue and as far as this study understands, such companies are working with the positive outlook in relation to their industrial functions as systematically training and managing the modeltainers.

중환자 팀 의료 구성원의 니즈 기반 외과계 중환자실 약료서비스 개선 연구

최지은,사은영,류수현,김민정,김귀숙,한나영,조윤숙,오정미 한국병원약사회 2019 병원약사회지 Vol.36 No.2

Background : As a member of the multidisciplinary team, the pharmacist can play an essential role in patient care in the intensive care unit (ICU). Although the number of critical care pharmacists has gradually increased and their role has expanded, there continues to be a need for improving the quality of care for critically ill patients. The aim of this study was to evaluate the status of clinical pharmacy practices in the surgical ICU (SICU) and suggest improvements in pharmaceutical care service reflecting the needs of the multidisciplinary team members. Methods : We identified the activities of pharmacists in the SICU and compared them to those previously reported in US hospitals for fundamental, desirable, and optimal activities. Based on these results, in-depth semi-structured interviews were conducted with key stakeholders to evaluate their needs for collaborative team care services improvement. The data from transcribed interviews were analyzed using thematic analysis techniques and the themes were clustered to derive the concept of service. Results : When the pharmacists’activities were compared to those of US hospitals the need for improvements in education, research, and administration were identified. Six physicians, and seven nurses were included in in-depth interviews. Most of them were satisfied with the current service of the pharmacist in the SICU and considered it necessary. However, needs for a better multidisciplinary team care service, including enhancement of pharmacists’participation, improvement of the communication system, etc., were identified. Based on the thematic analysis results, service concepts were developed, which were“ patient-centered collaborative team care”,“ persistent and longitudinal care”, and“ professional and evidence-based care”. Conclusions : An improvement service for critical care patients was derived from this qualitative analysis process. This concept can be used to guide the improvement of the overall quality of patient care in the SICU and to inform healthcare policy decisions.

외과계 중환자실에서의 약물유해반응 탐색에 대한 방법론적 접근

신진아,류수현,사은영,이은지,서성연,조윤숙,한현주,이진,손혜련,강동윤,강혜련 한국병원약사회 2017 병원약사회지 Vol.34 No.4

Background : The prevalence of adverse drug reactions (ADRs) in critically ill patients is estimated to be high due to several reasons such as the severity of their underlying diseases, the use of multidrug agents, and the changes in pharmacokinetic parameters. The objectives of this study were to understand the status of ADRs that occurred in the surgical intensive care unit (SICU) and to suggest an optimal monitoring method. Methods : We studied adult patients who were hospitalized in the SICU of the Seoul National University Hospital, a tertiary care hospital in South Korea, between August 3, 2015 and September 11, 2015. ADRs were detected by prospective monitoring, retrospective monitoring, and signal monitoring and assessed by a pharmacist in terms of causality, severity, preventability, seriousness, recovery, and types. The sensitivity of each monitoring method and the positive predictive value (PPV) of the signals were also calculated.

다학제 중환자 팀의료에서의 중환자약료 담당약사 역할에 대한 중요도 및 수행도 평가 설문연구 : 국내 임상의 및 약사 측면

손유민,이혜령,박은정,최은영,문채원,송영주,허은정,사은영,류수현,정선미,이경아,최은정,민명숙,김정미,김은영 한국병원약사회 2022 병원약사회지 Vol.39 No.4

Background : The objective of this study was to survey critical care pharmacists’ role by importance- performance analysis in multidisciplinary ICU teams. Methods : This multicenter prospective cross-sectional questionnaire study was conducted through direct mailing. Questionnaires and return envelopes were mailed to heads of hospital department of pharmacy. These questionnaires were designed to request for importance, performance of fundamental, desirable, and optimal services of pharmacy services for ICU pharmacists and satisfaction for clinicians. Data were subjected to importance-performance analysis. Results : Forty-one item pharmacy questionnaires and 25-item for clinicians were developed and distributed to ICU pharmacist and clinicians. Forty-seven (90%) pharmacists and 51 (66%) clinicians returned questionnaires. Clinicians generally rated satisfaction of pharmacy services more favorably than pharmacists in clinical function in both patient care and non-patient care. Means ± standard deviations (SDs) of importance and performance were 6.20±0.17 and 5.37±0.38, respectively, for the evaluation of clinical activities of patient-care by critical care pharmacist. In the case of pharmacists’ evaluation of non-patient care, means ± SDs of importance and performance were 4.86±0.70 and 4.78±0.21, respectively. The evaluation of importance for non-patient care tasks was significantly lower than that of patient-care tasks (p=0.001). The IPA analysis of clinician’s scores of importance and performance were 6.27±0.25 and 6.11±0.21, respectively for the evaluation of clinical activities of patient-care by critical care pharmacist. In the case of clinician’s evaluation of clinical activities of non-patient care, means ± SDs of importance and performance were 5.49±0.45 and 5.74±0.27, respectively. Conclusion : In conclusion, it was evaluated as important or appropriate performance and highly evaluated for satisfaction with the clinicians for critical care pharmacists’ role on importance- performance in ICU multidisciplinary team activity.