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Patterns of Anger Expression among Middle-Aged Korean Women: Q methodology
이용미,김근면 한국간호과학회 2012 Journal of Korean Academy of Nursing Vol.42 No.7
Purpose: The purpose of this study was to identify the characteristics of anger expression in middle-aged Korean women by categorizing their patterns of expression while considering the complexity and multidimensionality of anger, and by investigating the characteristics relative to the patterns. Methods: The research design was a descriptive design using Q methodology,which is a method of measuring subjectivity. A convenience sample of 42 participants aged 40–60 years and living in the community in Korea was recruited. The PC-QUANL software program (a factor analysis program for the Q technique) was used to analyze the Q-sort data. Results: Four factors were extracted that described different expressions of anger among middleaged Korean women; these factors explained 50.1% of the total variance. The frames of reference of the four factors were (1) direct diversion, (2) silent masking with remaining anger, (3) self digestion, and (4) controlling anger with objectification. Conclusion:In this study has identified patterns and characteristics of anger expression among middle-aged Korean women were identified, which will aid the development of effective anger-management programs for controlling anger in this population. In future studies, it would be helpful to investigate how the patterns of anger expression established herein are associated with specific health problems such as cardiovascular disorder and cancer.
이용미,허종배,이승묵,Lee, Yong-Mi,Heo, Jong-Bae,Yi, Seung-Muk 한국환경보건학회 2008 한국환경보건학회지 Vol.34 No.1
The objectives of this study were to measure ambient TGM concentrations in Seoul Korea, to determine the temporal variation of TGM, and to analyze the relationships among TGM, meteorological data and PM2.5 measured at the same time. Ambient TGM and PM2.5 concentrations were measured at the roof of the Graduate School of Public Health building in Seoul, Korea for the period of January to October 2004. Average TGM concentration was $3.43{\pm}1.17ng/m^3$. The average TGM was at a low concentration similar to those of background sites in other countries. The temporal variations and meteorological phenomena of TGM were not statistically significant. There was a positive link between TGM and PM2.5. It didn't indicate that reduction of $Hg^{2+}$ to Hg0 had occurred in liquid water contained in smog as in a previous study, but it shows that PM2.5 and TGM could be emitted from the same sources such as power plants and combustion engines. Also, the strong correlation between TGM and $SO_2$ concentrations indicated that the source of TGM was from fossil fuel combustions including coal combustion. Specifically, $SO_2\;and\;SO_4{^2-}$ concentrations correlated to TGM concentrations could be linked to TGM emitted from local and regional sources as well.
‘센과 치히로의 행방불명(千と千尋の神隠し)’에 나타난 유곽의 메타포
이용미 한국일어일문학회 2010 日語日文學硏究 Vol.72 No.2
本稿は「千と千尋の神隠し」を伝統文化への回帰という側面から眺めたものである。なかでもこのアニメーションにおける空間の構造及び油屋に書いてある言葉、そして登場人物のキャラクターなどが近世の遊郭のそれにきわめてよく似ているということを明らかにする。それから映画の下敷ないしモデルとして郭の文化が使われた理由、言い換えれば「千と千尋の神隠し」のテーマと郭の美学との接点について考察する。「千と千尋の神隠し」の油屋は川に囲まれ、お客さんの八百万の神々は船に乗ってやってくる。このような空間構造は油屋が現実と離れた異界であることを意味する。一方、近世の郭、中でも江戸の吉原はお客さんが日本堤まで猪牙船でくるし、郭の周囲はほりにめぐらされていた。油屋にかけてある「後楽」という扁額はお客さんを大事にもてなし、自分のことはあとに回すという心構えを表わす。また、「回春」や「年季明け」などの言葉にも郭を思わせる。千尋が千に名前が変わるのも遊女の命名法であった源氏名の伝統を受け継いでいるといえる。湯女と白拍子もやはり遊女を象ったものと思われる。「千と千尋の神隠し」と郭に共通する象徴性は何であろうか。それは両方とも治癒と再生の空間であり、神と人間の交流、あるいは神に接することができるユートピアのメタファーであると言える。
[너의 이름은.(君の名は。)]에 나타난 젠더 시스템 고찰
이용미 한국일어일문학회 2019 日語日文學硏究 Vol.110 No.-
In this paper, we looked at the epic structure of the gentler system shown in the animation [your name.]. The so-called trans motif, which refers to the body of men and women in Japanese literature and pop culture, has formed its own tributaries regardless of time. In addition, this work has achieved a remarkable achievement (regardless of commercial success) in the sense that it seeks to expand and regenerate trans discourse based on the fate of individuals and communities, respectively. Meanwhile, the fact that Japan's all-time gender system forms the basis of the storytelling's central axis, Trans, is a characteristic of this work. However, such as the formation of two opposing men's and women's characters, such as nature and culture, tradition and modern times, and the character description and self-awareness of characters who stay in patriarchal and hierarchical perceptions are pushing the limits that trans motifs have failed to present the possibility of a more equal and open sense of gender beyond biological limitations and physicality. 本稿はアニメ『君の名は。』に見られるジェンダーシステムの構造について考察したものである。日本文学および大衆文化において男女の身体が入れ替わるという、いわゆる「転身(trans)」の話は時代を問わず、受け継がれてきた話型である。『君の名は。』も体が入れ替わる男女の絆と、彼らによって天災から救われた町の運命を主題とすることから、転身モチーフの受容と拡張の可能性を広めた作品であると言えるだろう。 ところで本稿では『君の名は。』の構成が前近代の日本のジェンダーシステムに基づいて築かれたことを論じた。たとえば神社の神主である一葉と町長のトシキはそれぞれ自然と文化、伝統と現代というふうに、男女の描写において典型的に使われる二項対立の人物造形をとっている。また女主人公の三葉は現代の女子高生にもかかわらず、家父長制の社会で求められた保守的で伝統的な女性像に基づいた自己認識を示している。要するに『君の名は。』における転身モチーフは残念ながら生物的な限界と身体性を越えることができず、より平等で前向き的なジェンダー意識の提示には至っていないと思われる。