Illness Experience of Glaucoma Patients

이현애,김선녀,김화영,손수경 한국지역사회간호학회 2024 지역사회간호학회지 Vol.35 No.1

Purpose: The purpose of this study was to understand and describe the experiences of patients with glaucoma. Methods: Data were collected from March to April in 2023, through individual in-depth interviews with 10 glaucoma patients. Verbatim transcripts were analyzed using Colaizzi’s phenomenological analysis. Results: Six theme clusters were extracted that described patients’ experiences: 1) The frightening disease unexpectedly discovered; 2) A dismal life gradually trapped in darkness; 3) Fear of the unseen; 4) Following treatment without any other options; 5) Grateful for the help but feeling miserable; 6) Realizing the importance of eyes and health. Conclusion: The results of this study provide a deep understanding and insight into the experience of Glaucoma patients. Glaucoma patients experienced physical, mental, and social pain through the disease process. Therefore, psychological nursing interventions are needed to understand and reduce mental pain along with medical treatment to relieve physical symptoms in glaucoma patients. Furthermore, it will be necessary to prepare institutional support measures to minimize various social restrictions.

부록 : 제 1 회 ( 1984 학년도 ) 졸업생 졸업 논문 요약 / 연암 작품에 나타난 풍자성 - 《 허생전 》 을 중심으로 -

이현애 새얼어문학회 1985 새얼語文論集 Vol.1 No.-

에른스트 루드비히 키르히너의다보스 후기 작품 연구

이현애 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

Die vorliegende Untersuchung hat das bildkünstlerische Schaffen von Ernst Ludwig Kirchner(1880-1938) in seinen letzten dreizehn Arbeitsjahren von 1925 bis 1938 zum Gegenstand. Ziel ist es, Kirchners stilistischen Richtungswechsel nach 1925 im Kontext der Kunstentwicklung der Zwischenkriegszeit zu betrachten. Im Mittelpunkt der Arbeit steht das eigenwillige Projekt der Aufstellung eines “neuen Kirchner”, dessen Zeitpunkt von dem Künstler selbst bestimmt wurde. Ab 1925 sprach Kirchner von einem “Neubeginn” und einem “neuen Kirchner”. So schrieb er am 1. März 1927 an den Dresdener Kunstschriftsteller Will Grohmann: “Wohl geht die Arbeit vorwärts, trotz allem, aber die Leute kämpfen gegen meine heutige Art wie vor 10 Jahren gegen die damalige, die sie heute anerkennen. Aber ich stelle doch nochmals einen neuen Kirchner auf. Kunst ist doch stete Verwandlung, und das Altwerden in gewohntem Schema ist Handwerk, nicht Kunst.” Die Aufgabe meiner Untersuchung liegt darin, die Idee des “neuen Kirchner” nachzuzeichnen und dessen Erfolg sowie Scheitern begreiflich zu machen. Mein Interesse an der späten Schweizer Arbeitsphase Kirchners begründet sich zunächst aus der Beobachtung, dass eine unerwartet große Anzahl neuer Gestaltungsmittel auf sein bildkünstlerisches Schaffen ab 1926 großen Einfluss nahm. Der damit einhergehende künstlerische Wandel ist derart einschneidend, dass man hieraus die Berechtigung ableiten darf, von einem “Neubeginn” des gut fünfzigjährigen Künstlers zu sprechen. Hinzu kommt, dass viele der deutschen Expressionisten, wie die Mitglieder der Dresdener Künstlergruppe “Brücke” bzw. die Ex-Malerfreunde Kirchners, Mitte der zwanziger Jahre mit neuen künstlerischen Experimenten aufhörten und in ihrer gewohnten Nische verharrten. Der späte Kirchner hingegen wagte es, über den Schatten der “Brücke” zu springen und von einer Stilrichtung abzukommen, die bereits zu kunsthistorischer Anerkennung geführt hatte. Dabei zeigt er eine geradezu chamäleonartige Wandlungsfähigkeit, die weit über die Vorstellungen des “alten Kirchner” hinauslief. Die gängige Bezeichnung als “Expressionist” wurde von Kirchner rigoros abgelehnt - ein Standpunkt, der in seinem späteren Davoser Werk explizit zu Tage trat. Das Projekt des “neuen Kirchner” wurde genau in dem Jahr angekündigt, 1925, als in Deutschland die erste Ausstellung der “Neuen Sachlichkeit” in Mannheim und in Frankreich die erste der Surrealisten, “La peinture surréaliste” in Paris veranstaltet wurden. Dass Kirchner nicht zu jener Richtung der “Neuen Sachlichkeit”, sondern zu dieser der Surrealisten neigte, ist bemerkenswert. Meine Untersuchung diskutiert, unter welchen Gesichtspunkten der “alte Kirchner” revidiert wurde, inwiefern der “neue Kirchner” wirklich neu war, und inwieweit das Projekt erfolgreich oder erfolglos war.

스마트관광 모빌리티의 경제적 파급효과 추정: 스마트관광도시 서울을 중심으로

이현애,김현지,최봉,정남호 한국지능정보시스템학회 2021 한국지능정보시스템학회 학술대회논문집 Vol.2021 No.6

Assessing the Factors that Drive Consumers’ Intention to Continue Using Online Travel Agencies: A Heuristic-systematic Model Perspective

이현애,정남호 한국경영정보학회 2019 Asia Pacific Journal of Information Systems Vol.29 No.3

As the growth of online travel agencies (hereafter OTAs) accelerates, competition among hotels to gain exposure on the first page of OTA websites, and the financial burden, such as commissions hotels have to pay in return, are increasing. Therefore, to facilitate successful management in the tourism industry, it is important to establish what makes people continue the practice of using OTAs to book rooms in hotels and other accommodation outlets. By adopting the heuristic-systematic model (HSM), this study explores the factors that drive consumers’ continued use of OTA and classifies them into heuristic cues (brand awareness, cost saving, and scarcity message) and systematic cues (recommendation quality and the ability to provide reputation). Furthermore, we divided the sample based on the location of hotels within and outside Korea, and investigated the different roles of the cues between two models. The results are expected to provide theoretical and practical implications for both OTAs and hotels.

MICE 생태계 분석을 위한 PCO와 이해관계자 간의 하이퍼링크 관계망 분석

이현애,정희정,구철모,정남호 한국경영정보학회 2018 Information systems review Vol.20 No.3

“세계언어로서의 추상”: 카셀 <도큐멘타>와 1950년대 독일의 예술정책

이현애 미술사학연구회 2010 美術史學報 Vol.- No.34

Beginning in 1955 in the town of Kassel, documenta, an international exhibition was planned to present the contemporary German art to an international audience and document its history after the end of the second world war. This study is based on the fact that American painting, especially Abstract Expressionism, made its massive appearance in the early Kassel documenta, in particular, at documenta II(1959) and III(1964). In the 1950s, the two Germanies had been established in their respective arenas of hegemonic ideological struggle: the Stalinization of the German Democratic Republic (East Germany) and Americanization of the Federal Republic of Germany (West Germany). Here, art played a cultural warrior in the name of documenta. It was promoted to show the political position of West Germany after the end of fascism and the beginning of Cold War. Kassel, located in the middle of Germany, is so close to the border between East and West, the "Iron Curtain", that the citizens of East Germany could visit the exhibition before the construction of Berlin Wall. So, the institution documenta mounted a propaganda campaign against the Eastern governments by means of a financial promotion of the "Federal Government Department of All-German Issues (Bundesministerium für die gesamtdeutsche Fragen)" and "MoMA international Program" as a part of "Marshall Plan". However, in doing this, there was a double delimitation: The West Germany tried to differentiate itself both from its National Socialist past in the 'third Reich' and from the cultural doctrine of the East Germany and other totalitarian states. While the Soviet-style socialist realism was regarded to represent the political ideology of East Germany, abstraction was equated with freedom and thereby encouraged as an autonomous art and a "world language" (in German: "Abstraktion als Weltsprache"). The German artist and the art historian who realized the international exhibition in the ruined town of Germany, Arnold Bode and Werner Grohmann, stood out in their roles of promoting abstraction and rehabilitating German modernism as a link between international modern art and contemporary German art. They believed that its history was interrupted by the Hitler regime and should be continued and rewritten. For them, abstraction became the language of historiography. In this way, the early documenta constructed a propaganda art and culture, creating the image of the state as ‘a new Germany.’The preceding studies about documenta in general have focused on the three points: first, the historical meaning of documenta as a political product of the Cold War and the divided country; second, the economic mechanism of the exhibition with a success of Abstract Expressionism in art market; and third, the value of art policy and history as an international exhibition which emerged in a particular time(the decade of the 1950s) and space(Kassel, a frontier city of the divided Germany). This study takes to task the third point in the purpose of extending the discourse of abstraction in the light of the ontology of art. This study follows up this question: What were the meanings and purposes of abstract art in documenta in the era of Cold War and hegemonism? In order to answer this, it first considers the links among ‘state, world, and freedom’ on the one hand, and among ‘cultural capital, art history, and the concept of art’ on the other. These connections will contribute to clarification of the historical significance and the limit of abstract art in the 1950s in the case of the early documenta.

다리파와 독일 표현주의: 페터 뷔르거의 아방가르드 이론을 중심으로

이현애 미술사학연구회 2009 美術史學報 Vol.- No.32

Die vorliegende Untersuchung hat die Künstlergruppe “Brücke” zum Gegenstand, die den deutschen Expressionismus bzw. die damalige Avantgarde Kunst in Deutschland vertrat. Das Ziel dieser Arbeit liegt darin, der kunsthistorischen Bedeutung der Dresdener Künstlergruppe kritisch nachzugehen und ihre Möglichkeiten und Grenzen zu betrachten. Es stellt sich die Frage, inwiefern die Brücke und ihre Kunst avantgardistisch waren, und wie dieser Charakter mit ihrem Bewusstsein, “Deutsche Kunst” zu schaffen, konform geht. Meine Untersuchung beginnt mit der kritischen Darlegung der so verdienstvollen Thesen von Peter Bürger, dessen Avantgarde-Theorie 1974 bis 2004 unaufhörlich variiert wurde. Auftakt der Brücke-Künstler war ihre Kritik an der Institution Kunst in der Gesamtheit von offizieller Ausbildung und Ausübung, von Vetrieb und Vermittlung und der entsprechend herrschenden Vorstellung von Kunst. Die Gruppe kämpfte für eine Entgrenzung zwischen Kunst und Leben, mit der die empfundene Entfremdung des Künstlers von der Gesellschaft, vom Publikum und von der Kunst aufgehoben werden sollte. Meine Untersuchung geht davon aus, dass die Brücke und ihre avantgardistischen Einstellungen im Kontext der Sozialisierung einer Künstlergruppe betrachtet werden sollen. Es geht hier gerade nicht um die Versozialwissenschaftlichu- ng der Kunst, sondern darum, das Soziale in der Form aufzuspüren, um den Begriff des Ästhetischen bei der Brücke-Kunst zu verstehen. Ihre Ästhetik zielte auf die Aufstellung einer deutschen Kunst, die tatsächlich in ein Dilemma geriet. Die vorliegende Untersuchung wird zeigen, dass das Wesen der Künstlergruppe Brücke und ihres “deutschen” Expressionismus gerade in diesem Dilemma liegt. Um dies aufzuweisen, wird meine Untersuchung in drei Teilen geteilt: I) Die Variation der Avantgarde-Theorie von Peter Bürger in Bezug auf den deutschen Expressionismus und die Kunst der Brücke, II) Struktur und Organisation der Künstlergruppe “Brücke” im Kontext der Sozialisierung einer modernen Künstlergruppe, III) Expressionismus und seine Identität als Deutsche Kunst.

한국 이갈이 환자의 성격 유형 검사(MBTI)

이현애,어규식,정기택,전양현,홍정표,Lee, Hyun-Ae,Auh, Q-Schick,Jung, Kee-Taig,Chun, Yang-Hyun,Hong, Jung-Pyo 대한안면통증구강내과학회 2008 Journal of Oral Medicine and Pain Vol.33 No.1

The focus of this study is to analyze the effect of stress on the health of bruxism patients using the MBTI system. The most common personality type will be identified among the bruxism patients and by understanding their personality & their handling of stress, more comprehesive and effective treatment plan can be constructed. The study will also conclude that the type of personality has big effect on the cause of bruxism, and that this will be considered in the treatment plan in this hospital. The result of the study is as follow. First, more bruxism patients were type I than type E. It can be suggested that this result is due to the introversive people maintaining their energy how within themselves, and private are less to likely to release there stress than the expressive people. Second, among the bruxism patients significantly more type T were found compared to type F. This implies the bruxism tend to follow principals, scientific and analysing during decision making rather than basing their decision an meanings, emotions and influences. Thirdly, more bruxism patients clarified into ST in comparison to non-bruxism patients. This is thought to be due to probable increased stress and anxiety following ST people's tendency to more strict and realistic thinking according to effectiveness, evidence-based and productivity. Fourth, the type IJ was the most of the bruxism patients. We can come to the conclusion that decision-oriented introversion people who have hard to change, a thoroughgoing preparation characters are likely to grind their teeth by their detailed characters. Fifth, the type IT was the most of the bruxism patients. Bruxism patients are usually influenced by spirit, easily hearted, awed of relationship and attention. So, their intensity of stress is much bigger because of their personality. The last, Type IS was the most of the bruxism patients. It means that introvert sensitive types who have characters of calm, passive but defence to other's emotion, also neutral, keep moderation, and have cold-heartedness are likely to grind their teeth frequently. In conclusion it is evident that bruxism patients have particular personality types. Precisive, analysing and introversive bruxism patients are expected to have higher sensitivities to stress.

관광지 거주민들의 삶의 질 저하에 대한 결정 요인 : 퍼지셋 질적 비교 분석(fsQCA)을 활용하여

이현애,정희정,함주연,정남호 한국경영정보학회 2018 한국경영정보학회 학술대회논문집 Vol.2018 No.11

도시 관광객의 과잉 증가로 인해 낙후된 구도심 지역이 활성화되면서 임대료 상승으로 기존 거주민이 내몰리는 젠트리피케이션(gentrification)과, 주거지역의 관광지화로인한 거주민의 이주현상을 의미하는 투어리스티피케이션(touristification)은 최근 전 세계적인 문제로 지적되고 있다. 한국에서도 제주도와 북촌한옥마을 등에서 오버 투어리즘으로인한 환경 오염, 지가 및 임대료 상승, 공동체 문화 약화와 같은 현상이 나타나고 있다. 이러한 현상은 거주민들의 삶의 질을 저해함으로써 심각한 사회문제로 대두되고 있다. 이에 본 연구는 복합이론(complexity theory)를 토대로 거주민 삶의 질 저하에 대해 관광이 가지고 있는 경제적 이익, 사회적 비용, 환경적 지속성, 문화적 혜택, 기술적 영향을 살펴보고자 하였다. 퍼지셋 질적비교분석(fuzzy-set Qualitative Comparative Analysis, fsQCA) 결과, 총 3개의 거주민 삶의 질 저하 패턴이 도출되었다. 또한 3가지 패턴 모두에서 공통적으로 사회적 비용이 거주민의 삶의 질 저하의 주요(core) 요인으로 나타나, 기술적, 경제적 혜택(패턴 1) 또는 경제적, 문화적 혜택 및 환경적 지속가능성(패턴 2)이 있더라도 삶의 질이 저하되는 것으로 나타났다. 한편, 패턴 3에서는 부산이 스마트 도시로 선정됐음에도 불구하고, 거주민들은 사회적 비용만 인식할 뿐, 이를 통한 어떠한 혜택도 인식하지 못하는 것을 확인하였다.