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정신건강간호사의 정신질환자 돌봄체험에 관한 해석학적 현상학적 연구
김성의 ( Kim¸ Seong Ui ),공성숙 ( Kong¸ Seong Sook ) 한국정신간호학회 2021 정신간호학회지 Vol.30 No.3
Purpose: This study aimed at understanding the experiences of mental health nurses caring for mentally ill patients. Methods: Van Manen’s hermeneutic phenomenological method was used to analyze qualitative data. The participants were 8 mental health nurses who worked in hospitals, mental health welfare centers, or psychiatric rehabilitation facilities. Data were collected through in-depth interviews from July 24, 2017, to June 20, 2018. Results: Eight essential themes emerged: “A body that must endure severe symptoms”, “A hand that cares for the wound”, “Ambivalence in a closed space”, “Making them adapt to the open world”, “Being together and getting close to the patients”, “Going forward, leaning on each other”, “Time to protect even a small light”, and “Becoming a shining star by myself”. Conclusion: Strategies are needed to cope with patient violence and prevent psychological trauma. Mental health nurses should be trained for empathetic competency to understand symptoms and build trusting relationships. Caring requires respect and love based on humanity. Mental health nurses learn from patients and experience mutual care that grows through self-reflection. Policy support including financial and manpower security is essential to improving the quality of care and preventing exhaustion.
김성의 ( Sung Eui Kim ),윤미라 ( Mi Ra Yoon ) 대한무용학회 2023 대한무용학회논문집 Vol.81 No.4
The purpose of this study is to examine the recent performance aspects of Cheoyongmu, a national intangible cultural asset, analyze the performance activities of Cheoyongmu for sustainable development and growth in the future, and seek ways to utilize it.The study period was from 2010, when Cheoyongmu was registered as a UNESCO Intangible Heritage of Humanity, to the present. For this, Cheoyong Dance Preservation Society, the National Gugak Center, the National Intangible Cultural Heritage Center, and private organizations analyzed performance activities across the country and diagnosed the aspects of each type of performance to find a basic plan for the continuous development of sustainable performance. As a result of the analysis, it was possible to organize the performance of Cheoyong dance over the past 10 years into three performance aspects: transmission of the original form, modern recreation, and cultural content through technological convergence. First, there were many performances aimed at preserving the original form of the dance in order to transmit the original form. In particular, the Cheoyongmu Preservation Society attempted to change the original form of Cheoyongmu into one-person, two-person, and five-person dances, but there were not many new creative attempts. This may be because the Cheoyongmu Preservation Society has an obligation to preserve intangible cultural assets without damage despite changes in the times. Meanwhile, in the National Gugak Center's Saturday luxury performances or special performances, the story of the work is changed by combining it with various other traditional dances or using field instruments. Efforts should continue to be made to show changes through various attempts, such as creating a three-dimensional space by creating a harmonious and participatory stage rather than the feeling of watching a staged tradition from the existing audience seat. In addition, in terms of modern re-creation, we are continuing our creative work through collaboration with various genres based on the various themes of Cheoyongmu. In particular, around 2010, work on new reproductions based on past Cheoyongmu literature and paintings was actively carried out. Also non-face-to-face performances have increased during the COVID-19 period, and attempts at convergence with technology are also advancing. Therefore, as the rapidly developing Korean trend and the object of interest are different, there is a need for an upgrade in a new direction in composing Cheoyongmu performance by mutual communication and also need continuing education by the choreographic ac tivities of those who have completed the dance and are being passed down at the Cheoyong Dance Preservation Society. Meanwhile, in order to preserve the original form and record the succession process, archiving should be done to record and film Cheoyongmu for each performance.