한국 성소수자의 성·생식건강의 경험

이윤정 ( Lee¸ Yunjung ),김주희 ( Kim¸ Ju Hee ) 경희대학교 동서간호학연구소 2021 동서간호학연구지 Vol.27 No.2

Purpose: The purpose of this study was to understand the experiences and problems of sexual and reproductive health among Korean lesbian, gay, bisexual, transgender, queer or questioning, and intersex (LGBTQI) people. Methods: Phenomenological methodology was employed in this study, which comprised 14 LGBTQ participants. Data were collected using individual in-depth interviews from May to June, 2021, and were analyzed using Colaizzi’s method. Results: Four categories-comprising nine theme clusters-emerged from the data, as follows: 1) hard-to-recognize gender identity, 2) blind spots in the healthcare system, 3) empathy and support in the community, and 4) new challenges to protect my precious self. Conclusion: This study provides valuable and detailed insights into the meaning of sex and reproductive health among Korean LGBTQI people. This finding could be utilized to develop effective questions for understanding not only sexual and reproductive health but also overall health problems of LGBTQI people.

밀양 향토민요의 분포양상과 음악적 특징

이윤정(Lee Yunjung) 숭실대학교 한국문학과예술연구소 2021 한국문학과 예술 Vol.37 No.-

본 논문은 밀양시에 전승되는 여러 민속 문화 중에서 민요를 대상으로 분포양상을 알아보고, 이들의 음계나 박자구조 등을 통하여 밀양지역 향토민요가 지니고 있는 특징을 살펴본 글이다. 밀양시 민요 특히 향토민요의 분포양상은 20세기 접어들면서 민요 기록의 일환으로 다양한 방법에 의해 조사한 결과물을 바탕으로 하였다. 왜냐하면 도시의 현대화와 산업화로 인하여 대부분의 소리들이 사라졌으며, 민요를 기억하는 사람들이 이미 돌아가셨거나 연령대가 높아 현지조사가 어렵기 때문이다. 따라서 본 논문에서는 『한국구비문학대계』와 『한국민요대전』을 주 자료로 하였으며, 이에 더하여『한국의민속음악-경상남도편』도 함께 활용하여 밀양시의 향토민요의 분포양상과 이들의 음악적 특징을 살펴보았다. 밀양 향토민요에서 나타나는 음계는 경상도지역 민요를 대표하는 메나리토리의 음계를 활용하고 있으나 기존 메나리토리와 달리 음계의 중간에서 곡을 마치지 않고 대부분 음계의 최저음을 활용하여 끝을 맺고 있다. 신세타령류의 민요인 어사용을 제외한 모든 민요는 규칙적인 박자를 지니고 있으며, 3소박4박의 박자구조 활용의 비중이 가장 높은 점으로 보아 밀양의 향토민요는 우리나라 민요의 보편성을 지니고 있음을 알 수 있다. 특히 메나리토리에서 음계의 최저음이 반음 높아진 형태의 특징을 지닌 어사용토리는 밀양을 비롯하여 창녕이나 양산 등지에서 나타나고 있었는데, 이들 지역은 낙동강을 주변 지역들로서, 낙동강을 중심으로 한 지역에서는 어사용토리 활용 비율이 높음을 확인할 수 있었다. The present thesis examines the distribution patterns of folk songs out of the various folk cultures transmitted in Miryang as well as the characteristics of local folk songs in the Miryang region such as their scales and rhythmic patterns. The distribution patterns of the folk songs of Miryang, specifically, those of local folk songs were based on results uncovered by various methods as part of the effort toward folk song documentation during the 20th century. As most sounds disappeared as a result of urban modernization and industrialization, fieldwork became difficult because most of the people who remembered the folk songs either either passed away or were too old. Therefore, the present study examined the distribution patterns of the local folk songs of Miryang along with their musical characteristics by using The Comprehensive Collection of Korean Folklore Literature and The Anthology of Korean Traditional Folk Songs as main material sources, along with The Folk Music of Korea–The Gyeongsangnam-do Volume. Although the scales that appear in the local folk songs of Miryang are those of Menaritori which is representative of the folk songs in the Gyeonsangdo region, most of them end with the use of a bottom pitch as opposed to the middle of the scale unlike conventional Menaritori. All folk songs besides Eosayong—folk songs in the vein of Shinsetaryeong (traditional Korean ballad lamenting one’s circumstances)—have a regular rhythm, and the fact that the highest proportion of rhythm patterns involve a 4 beat measure with 3 sub-beats reveals how the local folk songs of Miryang proves their universality with other Korean folk songs. In particular, Eosayongtori, which features a half step higher bottom pitch within Menaritori, appears in various areas including Miryang, Changnyeong, and Yangsan. As these areas are the surrounding areas of the Nakdong River, it shows how the rate of using Eosayongtori was higher in the region centering around the Nakdong River.

봉평 메밀도리깨질소리의 음악적 특징

이윤정(Lee Yunjung) 아시아강원민속학회 2019 아시아강원민속 Vol.31 No.-

이 글은 강원도 봉평에서 전승되는 메밀도리깨질소리를 대상으로 음악적 요소를 분석하여 그 특징을 살펴보았다. ‘봉평 메밀도리깨질소리’는 메밀씨 파종, 메밀 추수, 태치기소리, 도리깨질소리, 건부재기날리는소리, 두벌 도리깨질소리, 풍년놀이의 일곱 부분으로 구성되어 있다. 이 중 태치기소리에서는 〈태치기소리〉, 도리깨질소리와 두벌 도리깨질소리에서는 〈도리깨질소리-1〉과 〈도리깨질소리-2〉, 건부재기날리는소리에서는 〈건부재기날리는소리〉가 불린다. 그러나 〈건부재기날리는소리〉는 단순한 선율을 동일하게 반복하면서 사설만 변화되며, 두벌 도리깨질소리에서는 앞부분의 도리깨질소리와 동일한 노래가 불린다. 따라서 ‘봉평 메밀도리깨질소리’에서 중요도를 지닌 노래는 〈태치기소리〉와 〈도리깨질소리-1〉·〈도리깨질소리-2〉라 할 수 있다. 〈태치기소리〉와 〈도리깨질소리-1〉, 〈도리깨질소리-2〉의 토리는 모두 메나리토리가 사용되고 있으며, 박자구조는 전체가 3소박 4박자이며, 메기고 받는 선후창의 방식으로 노래가 불리고 있다. 이 세 가지 노래는 서로 유사한 선율로 구성되어 있으며, 또한 선율이 단순함에도 불구하고 속도의 변화나, 가창방식의 변화를 꾀하여 기능을 고려한 소리들로 구성되어 있다. 봉평 메밀도리깨질소리는 모두 메나리토리를 사용하는 점으로 보아, 강원도 고유의 지역성을 드러내는 음악문화를 지니고 있는 민요이므로, 앞으로도 강원도의 지역성을 유지하면서 전승·활성화되기를 기대한다. This study analyzed the musical elements of Memil-dorikkaejil -sori(Buckwheat flailing folk chanting and singing) passed down in Bongpyeong, Gangwon-do Province, and examined the musical characteristics of this piece. ‘Bongpyeong Memil-dorikkaejil-sori’ consists of seven parts: buckwheat seeding, buckwheat harvesting, threshing sori, flailing sori, winnowing sori, second flailing sori, and good harvest nori. Of these parts, 〈Taechigi-sori〉 is sung in the threshing sori section;〈dorikkaejil-sori-1〉 and 〈dorikkaejil-sori-2〉 are sung in the flailing sori and second flailing sori sections; and 〈Geonbujaegi-nallineun-sori〉 is sung in the winnowing sori section. However, 〈Geonbujaegi-nallineun-sori〉 features a variation in the lyric while repeating the same simple melody, and the same songs that are sung in the first flailing sori section are repeated in the second flailing sori section. Therefore, the songs that are of importance in ‘Bongpyeong Memil-dorikkaejil-sori’ are 〈Taechigi-sori〉, 〈dorikkaejil-sori-1〉 and 〈dorikkaejil-sori-2〉. 〈Taechigi-sori〉, 〈dorikkaejil-sori-1〉 and 〈dorikkaejil-sori-2〉 all use Menaritori, the traditional musical scale of Gangwon-do Province. The beat structures of all three songs follow 3 Sobak 4 Bakja(4 main beats respectively composing a standard tempo of the music with 3 smaller beats grouped for each main beat in its deep structure), and the basic manner of singing them corresponds to the format of leading chant and responding chorus. These songs are compsoed of similar melodies, and despite this simplicity in the melodies, they are composed of sori (chants and songs) that consider the function of respective song by changing the speed or the singing method. Given that Menari-tori is used in all parts of ‘Bongpyeong Memil-dorikkaejil-sori’, this piece is judged to be a folk song containing the musical culture that reveals the unique regional characteristics of Gangwon-do. Therefore, it is expected that such regional musical characteristics of Gangwon-do will be maintained and revitalized through this piece.

주파수 평탄도에 기반한 심잡음 검출 알고리즘

이윤정(Yunjung Lee),이기현(Gihyoun Lee),나승대(Sung Dae Na),성기웅(Ki Woong Seong),조진호(Jin Ho Cho),김명남(Myoung Nam Kim) 한국멀티미디어학회 2016 멀티미디어학회논문지 Vol.19 No.3

분만실 간호사의 근무 경험에 관한 현상학적 연구

이윤정 ( Lee Yunjung ) 여성건강간호학회 2017 여성건강간호학회지 Vol.23 No.2

Purpose: This study aimed to understand meaning and essentials in work experiences of delivery room nurses. Methods: A phenomenological perspective was used for this qualitative research. Ten delivery room nurse with more than 3 years of work experience participated in this study. Data were collected through individual in-depth interviews with the nurses, between December 2012 and April 2013. Data were analyzed using Colaizzi`s method. Results: Nine theme clusters and four categories emerged from the data as follows: 1) factors influencing career decision-mak-ing, 2) gap between reality and expectations, 3) difficulties with working in the delivery room, and 4) motivation to work in the delivery room. Conclusion: Based on the results of this study, strategies to improve working environment of the delivery room nurses are necessary. Also, better policy are required to firmly establish the role of the delivery room nurses` role as recognized professionals.

중국어 말하기 과제유형에 따른 유창성 비교 연구

이윤정 ( Lee Yunjung ) 한국중국언어학회 2020 중국언어연구 Vol.0 No.87

The purpose of this study is to find out the types of tasks that can be used in the Chinese speaking class. For this purpose, four speaking tasks and eight evaluation indicators were selected, and the speaking fluency of Chinese learners was examined. As a result of the analysis by task type, ‘Speak in Chinese after read a story’ was the most difficult, followed by ‘speak with short sentences after read a dialogue’. ‘Speak while looking at the pictures’ and ‘Speak after Listening’ were relatively easy tasks. However, categorized by Chinese level, the most appropriate task for beginners was the ‘Speak after Listening’ task, and it was easy for intermediate learners. ‘Speak while looking at the pictures’ task is considered appropriate for both beginner and intermediate learners. ‘Speak with short sentences after read a dialogue’ task was a difficult task for beginners, and it was a task that caused some intermediate learners to feel some stress. And ‘Speak in Chinese after read a story’ task was a difficult task for all learners. Lastly, the difference in Chinese level was clearly revealed in the ‘speak with short sentences after read a dialogue’ task.

유성기 음반을 통해 본 경서도 명창들의 남도음악 수용 양상- <성주풀이>를 중심으로

이윤정 ( Lee Yunjung ) 단국대학교 한국문화기술연구소 2017 한국문화기술 Vol.23 No.-

In this study, the overall image of Nam-do music recorded by Gyeongseo-do master singers among the gramophone records, which were mainly released between 1910 and late 1960, was identified and the aspect of acceptance and musical characteristics of the music were reviewed. To that end, first, those singers that recorded Gyeonggi songs and those singers that recorded Seo-do songs were identified centering on the gramophone record list and then, based on the results, those singers that recorded the songs of both regions were selected. Thereafter, the data on the participation of Gyeongseo-do master singers selected from the gramophone record list in the Nam-do music recording work were examined to review the genres of music accepted by them. Finally, the musical characteristics of < Seongjupuri >, which accounts for a large amount of data recorded by Gyeongseo-do master singers, were examined and based on the results, the aspect of acceptance of Nam-do music by the Gyeongseo-do master singers. The results are summarized as follows. In the gramophone record list, there are 370 Gyeonggi vulgar songs and 496 Seo-do vulgar songs. In these records, the Gyeonggi vulgar songs were recorded by approximately 70 singers and the Seo-do vulgar songs were recorded by 58 singers. Among them, the number of singers who recorded both Gyeonggi and Seo-do songs was approximately 30. Among these singers, nine singers-Park Wol-Jeong, Park Chun-Jae, Baek-Wun-Seon, Shin Ok-Do, Lee Geum-Ok, Lim Myeong-Ok, Lim Myeong-Wol, Jang Geum-Hwa, and Jae Hak-Seon-participated in Nam-do music record work. Among these singers, Park Wol-Jeong recorded the largest number of pieces of Nam-do music followed by Park Chun-Jae. In particular, the reason why Park Wol-Jeong could record more Nam-do music compared to other Gyeongseo-do master singers seems to be the effects of her father from Nam-do and her husband who was a record planner. The genres of the Nam-do music, recorded by Gyeongseo-do master singers, were folk songs, vulgar songs, and pansori. In addition, such Nam-do music could be found in other genres such as the pansori-based singing in chorus or Changgeuk and creative pansori that changed existing pansori. Except for Changgeuk and the creative pansori, Gyeongseo-do master singers left the largest number of gramophone records for vulgar songs in relation to Nam-do music and among those songs < Seongjupuri > is the most prevalent one. The < Seongjupuri > of Park Chun-Jae and Park Wol-Jeong is of Gutgury rhythms with four beats of three small beats consisting of five tones, `Sol-La-do-re-mi` and the melodies are in conjunct motions. In addition, both singers did not thickly and widely vibrate `Sol`, which is the lowest note of the scale, unlike Nam-do master singers, did not vibrate at all in many cases, and when they vibrated this tone, they did so narrowly. Such a form of vibration appears in parts with long beats. The aspect of acceptance can be identified in pansori and Namdo vulgar songs among those pieces of Nam-do music that were recorded by Gyeongseo-do master singers in gramophone records. In the case of pansori, interfacial tones like those in Nam-do pansori were used instead of Gyeonggi type tones or even Gyeongdeurm were changed into interfacial sounds thereby accepting Nam-do pansori as it is. On the contrary, in the case of vulgar songs, Gyeongseo-do master singers reflected the musical characteristics of their regions. Although there are many gramophone records, in which Gyeongseo-do master singers recorded Nam-do music, no such record has been found yet so that the sound sources can be identified in very few cases. Therefore, to concretize the results of this study, the results of analysis of those records should be supplemented after those records are found.

IoT 환경에서의 보안위협 분석과 모바일 키 복구

이윤정(Yunjung Lee),박용준(Yongjoon Park),김철수(Chul Soo Kim),이봉규(Bongkyu Lee) 한국멀티미디어학회 2016 멀티미디어학회논문지 Vol.19 No.5

중국어교육을 위한 현대중국어 ‘很+명사’구조 연구

이윤정 ( Lee Yunjung ) 한국중국언어학회 2021 중국언어연구 Vol.- No.94

This study examined whether it is possible to combine nouns with ‘很’ by selecting nouns from the new HSK vocabulary based on the Chinese corpus in order to learn and educate Chinese learners in the ‘很 + noun’ structure. In addition, the frequency of use of nouns for each level that constitutes the ‘很 +noun’ structure was derived. As a result, there were nouns that could receive the expression of ‘很’ and nouns that could not be received. Among them, there was a high frequency noun with a high frequency of use, while the temporary use status of only one or two appearances was seen. Looking at the high frequency nouns for each grade, adjectives and verbs combined with nouns dominated, and there were not many simple nouns. In particular, understanding the meaning of the ‘很+noun’ structure was very difficult when it had a metaphor similar to that of the Korean language, whereas when it had to be accompanied by a Chinese way of thinking and understanding of culture. Since the ‘很+noun’ structure is regarded as a non-grammatical structure, there is no need to refrain from mentioning it in Chinese language education, and Chinese textbooks, Chinese teachers, and Chinese learners cannot avoid understanding and using this structure. Therefore, it is expected that the high frequency ‘很+noun’ structure suggested by this study can be actively used in the educational field.

유럽과 중남미 카니발 복식 연구

이윤정(YunJung Lee) 한국복식학회 2021 服飾 Vol.71 No.5