역할 창조를 위한 "몸틀(body schema)" 형성 연구

송효숙 ( Hyo Sook Song ) 한국연극학회 2014 한국연극학 Vol.1 No.52

Formation of ``body schema`` is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form ``scheme of role`` with escaping from own ``body schema.`` ``Schema of role`` is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor``s own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor``s own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor``s body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze``s ``-becoming`` theory. As ``actual animal-becoming`` is real ``-becoming`` of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of ``all ``-becoming`` molecular`` by Deleuze/Guattari. ``Animal of having imitated animal``s characteristic- becoming`` is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

역할의 몸틀 형성에 기여하는 무대 환경 경험을 위한 촉각적 지각 방식 -촉각적 지각 방식의 종류와 과정에 대한 개념적 이해를 중심으로

송효숙 ( Hyo Sook Song ) 한국연극학회 2015 한국연극학 Vol.1 No.55

This study addresses that the role of body schema, which is the base for the existence of an actor``s role, is built by the interaction with all the stage environment under the given condition, and the restructural process of an actor``s body to the body for the role with the stage experience should be carried out by a method of haptic perception, the perceptual experience using whole body. The body schema, the base for the role existence, of an actor indicates that the person converts one``s body doing daily living activities, such as walking, sitting, lying, grasping, etc. autonomously and unconsciously fitting for the role of the stage, but avoiding one``s own habit of daily living activities. In other words, the body schema, built with sum of the daily living activities, in relation with the stage environment needs to be felt by the haptic perception. Prior to opening out the main subject, the premised concepts to help comprehension of the subject are as follows: first, the haptic perception is the perception using whole body; second, the stage environment means the space comprising of the objects implicating the play; third, the haptic perception is ruled as the system of multi-sensory, experiential perception, in a level of sensible perception. The methods of haptic perception to assist the restructural process of the body schema in relation with the stage environment are haptic perception by hand touch, haptic perception by proxy touch of a tool, and haptic perception by entire body movement. The haptic perception by hand touch vitalizes five senses including motor sensation and muscle sensor by vitalizing cutaneous sense of entire body with skin that touches objects and props placed in a close distance and a role, and causes empathy and agitation emotionally to form body schema into which body, mind, and emotion are integrated. For this, skin sensory activities of entire body, caused by hand skin, can be performed as they are connected with cognitive force in brain. The ``haptic perception by proxy touch of a tool`` stands for a haptic method that touches objects and environment in a way that holding tools and props by hand substitute for hand functions. The end of tools becomes a sense of touch to serve as a function and a role of extended hand of an actor, which can lead movement of extended body. The ``haptic perception by entire body movement`` stands for a perception on one-side space in a dynamic perception method directly connected to the stage by actively moving entire body towards stage setting and backdrops in stage environment. As stage space aims not to perceive size, width, height and depth of the space but perceive reconstituting size, location, and width of the placed devices or stage setting of stage space in a solid, three-dimensional by moving and approaching body in person. The 3 kinds in haptic perception methods are intended to proactively experience all the objects in a stage as correlatives of a character role, not overlooking that they are closely related to actors as a character role and theatrical semantic system. Based on this, the haptic perception methods follow a 4-step process. The first step is that actors should empathize and understand a director and a designer about theatrical intention and meaning implied in all creations that appear in the stage. The second step is to touch or approach creations in a satisfied external physical body condition by moving body with conscious attention and curiosity towards them in order to observe them if actors recognize objects as theatrical meaning. If a device is installed in a long distance, it should be recognized by integrating a long perspective of it and senses of touch obtained from experience of approaching and touching. The third step is to observe formative features of objects in a sense of touch, which is observation behavior on shape, size, weight, texture, usage, operation, and feeling with sensory action of entire body while having in mind in what relation the objects perceived by touching with hand or tool are with life of a role or circumstances and what meaning they contain. For the fourth step, a sense of object appearance has an intrinsic, extrinsic sense of fellowship with objects, arising from imagining and empathizing a story connected with objects and causing emotional agitation and behavior, which bringing out creating behavioral pattern that effectively operates and adapts to objects to match a story of role and theatrical circumstances. In short, a sense of touch is started from hand touch, proxy touch by tool, touch by entire body movement, which causes physical knowledge (memory), sensible impression, emotional agitation, and even physical behavior on the object, by connecting and integrating all senses of entire body. Namely, as the haptic perception is correlated with theatrical objects and entire body for a role, body schema, body, mind, and emotion, which properly act to the object, form body schema harmonized with a unified one.

비판적 사고력 증진 간호과정 교육이 간호대학생의 비판적 사고성향, 문제해결능력에 미치는 효과

송효숙(Song, HyoSuk),문미영(Moon, MiYoung) 학습자중심교과교육학회 2017 학습자중심교과교육연구 Vol.17 No.5

This study was performed to examine that nursing education curriculum effects the critical thinking dispositions and problem-solving skills of nursing students. A one group pre-posttest study was used. The participants were 108 nursing students 2nd graders. The data collected from Aug 31th to Dec 11th, 2015 in one university. Collected data were analyzed using t-test, ANOVA, Pearson’s correlation by SPSS 23.0. After the course, there were significant incresed in critical thinking disposition(t = -4.545, p <.001), and problem solving ability(t = -2.622, p = .010). The finding of this study verified that the nursing education curriculum can be used for improvements of critical thinking abilities and problem-solving skills of nursing students. Therefore, we suggest further research how the learning method based on critical thinking effects clinical training course or integrated nursing practical course management. 본 연구는 비판적 사고력 증진을 위한 간호과정 교육이 간호학생의 비판적 사고 성향, 문제해결능력에 미치는 효과를 확인하고자 수행되었다. 연구설계는 단일군 사전사후설계에 의한 실험연구로 연구대상은 C도 소재 일개 4년제 대학 간호학과 2학년 학생 108명이었으며 연구기간은 2015년 8월 31일부터 2015년 12월 11일까지였다. 연구결과 비판적 사고에 근거한 간호과정 교육 운영 후 비판적 사고성향(t=-4.545, p<.001), 문제해결능력 (t=-2.622, p=.010)의 점수가 사전에 비해 사후에 유의하게 증가하였고 교육 후 학습 만족도는 3.89±0.56점이었다. 본 연구를 통하여 비판적 사고력 증진을 위한 간호과정 교육이 간호학생의 비판적 사고 능력과 문제해결능력을 향상시키는데 효과가 있음이 확인되었다. 향후 비판적 사고력 증진에 근거한 학습방법을 임상실습 교과목이나 통합간호실습 교과목 운영에 대한 효과를 확인하는 연구를 제언한다

심장수술 환아에게 기도흡인과 기관지 확장제의 투여 방법이 활력징후 및 폐기능에 미치는 효과

송효숙(Song Hyo-Sook),전태국(Jun Tae-Gook),박표원(Park Pyo-Won),김경은(Kim Kyoung-Eun),정지혜(Chung Ji-Hye) 기본간호학회 2003 기본간호학회지 Vol.10 No.1

한국어판 간호사 직장 내 괴롭힘 측정도구 신뢰도 및 타당도 검증

송효숙(Song, Hyo-Suk),임소희(Lim, So-Hee) 한국간호행정학회 2020 간호행정학회지 Vol.26 No.5

Purpose: In this study the validity and reliability of the Korean version of the bullying (bullying-K) measure for nurses in Korea was investigated. Methods: Participants included 392 nurses from general hospitals with over 300 beds in Korea and was carried out for 2 months in the form of self reporting questionnaires. In this study the content validity, construct validity, concurrent validity and reliability were verified using SPSS 18.0 and AMOS 20.0. Results: The Korean version of the bullying measurement which is comprised of six factors, with a total of 37 questions that include eleven regarding attacks towards showing oneself and communication, eight regarding effects on psychology and fatigue, eight regarding effects of the organization and management, five regarding attacks towards personal and professional relationships, two regarding effects on health and three regarding effects on social relationships. The Korean version of the bullying measurement was validated by confirmatory factor analysis (x²/df=2.90, CFI=.90, GFI=.85, NFI=.86, RMR=.06, RMSEA=.06, TLI=.89). Furthermore, the reliability verification showed Cronbach"s ⍺= .85, confirming that the Korean version of the tool in this study was very reliable. Conclusion: This study showed that the Korean version of the bullying measurement is a valid and reliable instrument to assess nurses in Korea.

한국어판 간호대학생의 그릿 측정도구 신뢰도 및 타당도 검증

송효숙(Song, Hyo-Suk),임소희(Lim, So-Hee) 한국간호교육학회 2020 한국간호교육학회지 Vol.26 No.3

Purpose: The purpose of this study was to investigate the validity and reliability of the Korean Version of the Grit (Grit-K) scale for nursing students in Korea. Methods: The participants in the study were 277 nursing students. Their grit was verified by using self-reports and the results of a questionnaire. Grit was translated into Korean and its content validity was verified by five experts. The validity of the instrument was verified through item analysis, exploratory factor analysis, and confirmatory factor analysis. Reliability verification was analyzed by using internal consistency reliability. Results: Two factors were identified through exploratory factor analysis and six items of the original instrument were found to be valid. In the confirmatory factor analysis, the validity of the instrument was verified as the model. The internal consistency reliability was also acceptable and Grit was found to be an applicable instrument. Conclusion: This study shows that the Korean Version of the Grit Questionnaire is a valid and reliable instrument to assess nursing students in Korea.

Z세대 대학생이 경험하는 기부 및 기부 의도에 관한 현상학 연구

송효숙(Hyo-Suk Song),임소희(So-Hee Lim) 한국산학기술학회 2023 한국산학기술학회논문지 Vol.24 No.4

2010년 이후, 전 세계적으로 기부를 둘러싼 환경이 급속히 변화하면서 기부율은 점차 감소 추세를 나타내고 있다. 더욱이 2019년부터 시작된 코로나 팬데믹은 정치, 경제, 사회뿐만 아니라 기부에까지 영향을 미치게 되었다. 또한, 코로나19 이후, 새롭게 시작된 뉴노멀 시대의 주력 사회계층으로 부상한 Z세대들은 기존 세대와는 달리 자신의 개별 정체성을 형성하는 세대로 특이점이 보고되고 있다. 이에 본 연구는 Z세대의 대표라 할수 있는 대학생의 기부 경험 및 기부 의도에 대한 의미를 탐색하고, 본질적 구조를 파악하고자 시행되었다. 연구참여자는 Z세대의 대표인 대학생 중 본 연구의 목적을 이해하고 참여에 동의한 12명이다. 자료수집은 2022년 1월부터 2월까지 심층 면담을 통하여 수집되었고, Giorgi가 제시한 질적분석방법을 이용하였다. 수집한 자료를 분석한 결과, 4개의 범주와 11개의 주제 모음이 도출되었다. 4개의 범주로는 ‘기부를 실천하게 됨’, ‘기부를 주저하게 됨’, ‘기부 방법의 변화’, ‘희망하는 기부’로 진술되었다. 본 연구는 기부의 변화가 일어나고 있는 현시점에서 미래 사회의 주역이자 새로운 문화를 주도하는 Z세대를 대상으로 기부 경험 및 기부 의도에 대한 의미를 찾고, 기부에 대한 주요한 요인을 발견하였다는 점에서 연구의 의의가 있다. Since 2010, the donation rate has gradually declined as the environment surrounding donations has changed rapidly. Moreover, the corona pandemic that started in 2019 also affected donations. Generation Z, which emerged as the main social class in the modern era, has been reported to be a generation that forms its own identity, which distinguishes it from previous generations. Therefore, this study was conducted to explore the meanings of donation experience and donation intention of Generation Z, the protagonists of future society, and to identify their essential structures. The research participants were 12 university students who understood the purpose of this study and agreed to participate. Data were collected through in-depth interviews conducted from January to February 2022 and subjected to qualitative analysis as suggested by Giorgi. Four categories and 11 subcategories were derived based on analysis results. The four categories were; Making donations in practice, Hesitant about making donations, Changing donation method, and Desire to donate. This study is meaningful because it provides meanings for the terms donation experience and donation intention and identifies the main factors responsible for donation by Generation Z.

대학생들의 재난인식과 재난준비에 관한 연구

송효숙(Hyo-Suk Song),김진영(Jin Young Kim),김예지(Ye Ji Kim),이동열(Dong Youl Lee),김동은(Dong Eun Kim) 한국화재소방학회 2022 한국화재소방학회 학술대회 논문집 Vol.2022 No.춘계

최근 경제발전 및 사회발전에 따른 다양한 재난이 발생되고 있는 추세이다. 이러한 사항에서 재난에 대한 국민의 인식 및 관심도는 증대되고 있다. 재난의 범위에는 다양한 사항에 발생 할 수 있으며 이에 대한 대응도 상이하고 포괄적이라고 할 수 있다. 성인이 된 대학생들이 생각하는 재난인식과 재난준비에 대하여 설문조사를 통하여 조사하고 이를 통하여 향후 대학생들의 재난에 대응책을 모색하고 재난 준비 방법론을 증진시킬 방안의 필요성을 제시하는 것이 본 연구의 목적이다. 본 연구에서는 재난에서 응급처치의 방법과 재난인식 및 재난준비도를 중심으로 설문조사를 실시하였으며 대상은 보건계열학생 115명, 비보건계열학생 133명으로 총 248명의 대학생을 중심으로 설문조사를 실시하였다. 연구도구로서 응급처치에 관한 지식수준 23문항, 재난인식 20문항, 재난준비도 14문항으로 총 57문항으로 구성하여 연구를 수행하였으며 SPSS 28.0을 이용하고 빈도분석 및 T-test, ANOVA, 카이제곱, Cronbach’s a의 분석방법을 적용하였다. 응급처치에 관한 문항으로는 주위에서 응급처치를 제공받는 경험 및 지인, 본인이 제공받은 경험과 교육에 대한 내용을 중심으로 구성하였다. 또한 일상생활에서 발생할 수 있는 응급처치 지식에 대하여 염좌 및 벌에 쏘였을 때, 열사병등을 중심으로 학생들에게 생활 속 응급처치에 대한 내용을 중심으로 조사하였다. 재난인식에 관한 문항으로는 국가의 책임의 중요성 및 재난 발생시 대응, 복구, 신고여부에 관한 내용을 구성하여 조사하였다. 재난 준비도에서는 재난에 대한 교육여부와 재난시 필요물품에 대한 내용을 중심으로 조사를 진행하였다. 조사결과로서 보건계열과 비보건계열 학생들의 응급처치 지식수준 내용은 보건계열의 학생보다 비보건계열의 학생들의 지식내용이 유의하게 높은 문한들이 많았으며 재난인식 차이에서는 비보건계열학생들보다 보건계열학생들이 부정적인 인식이 높은 것으로 분석되었다. 또한 재난준비도 차이에서는 비보건계열 학생들이 준비도 내용에서 유의하게 높은 내용을 확인할 수 있었다.

논문 : 배우의 무대 환경 경험을 위한 새로운 지각 방식의 가능성 모색- "촉각적 지각"의 이론적 고찰을 중심으로-

송효숙 ( Hyo Sook Song ) 한국연극교육학회 2014 연극교육연구 Vol.24 No.-

This study investigates the possibility of suggesting ‘haptic perception’as a new way of the actor perceiving his stage environment experience. Haptic perception is a acting tool but not about finding physical training methods or seeking various bodily expression or physical behavior. It is sought in the perception system that focuses on haptic sense while interacting with the stage environment. The legitimacy of haptic perception starts from the question of customized and established visual perception that had dominated acting over the years. Visual perception makes the viewpoint of the agent the focus and creates a distance, thereby objectifying what is seen and operates first on one’s thoughts. The mental process leaves out the involvement of the existential body and conjures of the image of a memory in one`s consciousness, and therefore is not a perception of an existing object. The perception of an object conjured up in the consciousness assumes a defined meaning and it is deemed that the meaning of the object itself can be observed just by looking at it through one`s eyes. As a result, there is no actual perception activity between the existing body and the existing object, but only the experience on a mental level involving the image in the consciousness. From the perspective of acting, vision is limited to ‘viewing’by the eyes. But for an actor, viewing through the eyes needs to become viewing through the entire body. That is, the distance between the agent and the object is eliminated and the relationship between myself and the environment (object) becomes interconnected. Next is the entire body becoming the agent of viewing by converting the vision from that of the eyes to that of the entire body. The body of the actor is a sensory agent and the stage environment needs to become filled with numerous senses, making it into a ‘sensory space’. The close interaction between the existing body and the object is in the end about creating, expressing and realizing the meaning of theater implied within the actor and the stage environment. To that end, interaction on a sensory level is required and this calls for a relation between the sensory agent and the sensory space. In order to move away from the old custom of visual perception focused on logical thought and move towards viewing through the entire body, perception with a focus on haptic sense needs to be used. The haptic sense turns the entire body into a sensory agent and therefore leads a full body experience by waking up the dormant senses. Tactile perception for the sensory experience of the entire body is defined as all that includes tactile, haptic experience where the muscle senses are operated through hand movements, kinesthesia where the body`s kinetics is sensed through movements, special sense and visual sense. The significance and possibility of haptic perception can be defined as follows. First, it emphasizes the actual ‘experience’that occurs at this moment while interacting with an existing object where the body is the agent on the stage environment. Second, the act of viewing through one`s entire body through haptice perception realizes through the entire body the implied theatrical meaning that exists in the stage environment and allows it to be internalized from a specific, multi-dimensional, structural perspective. Third, haptic perception does not lean towards mental activities of the imagination or memory to draw out emotions but starts from bodily movements allowing a more integrated perception that combines physical and mental perception.

핵심기본간호술 실습교육에 대한 다면평가 연구

송효숙(Song, Hyo-Suk),임소희(Lim, So Hee) 한국간호교육학회 2016 한국간호교육학회지 Vol.22 No.1

Purpose: The purpose of this study is to provide essential resources on various evaluation strategies by identifying relationships between professor-evaluation, peer-evaluation, and self-evaluation of the core basic nursing skills in nursing students. Methods: Forty third-year nursing students who participated in core basic nursing skills were given the same checklist that was used for assessment by the examiners. Then, the scores of the professor and the students were compared and analyzed with SPSS/WIN 18.0. Results: The scores of the student peer (178.54) and student self-evaluation(177.74) was significantly higher than the scores of professor-evaluation (172.05),(F=5.03, p=.008). There was a significant, positive correlation between the professor-evaluation and the student-peer-evaluation in skill-scores(r=.47, p=.002) and attitude-scores(r=.52, p<.001). In addition, the professor-evaluation and the self-evaluation each showed a significant, positive correlation in skill-scores(r=.61, p<.001) and attitude-scores(r=.36, p=.023). Conclusion: The study result indicates that in order to expand the evaluation method, the professor evaluation, as well as the student self and the peer evaluation, will contribute to improve the educational achievement of learners.