Seasonal Patterns of Asthma in Children and Adolescents Presenting at Emergency Departments in Korea

원윤경,황태호,노희정,정은희 대한천식알레르기학회 2016 Allergy, Asthma & Immunology Research Vol.8 No.3

Purpose: Seasonal variations in asthma-related hospitalizations and emergency department visits have long been recognized. This study aimed to investigate the seasonal patterns of asthma in children and adolescents who presented at emergency departments in Korea. Methods: We analyzed the National Emergency Department Information System records from 117 emergency departments in Korea that comprised all of the patients with asthma who were aged 3-18 years and who presented at the emergency departments from 2007 to 2012. The children and adolescents were divided into 3 groups based on their ages, namely, 3-6 years, 7-12 years, and 13-18 years. The data were tabulated, and graphs were created to show the seasonal trends in the monthly numbers of emergency department visits as a consequence of asthma. Results: A total of 41,128 subjects were identified, and the male-to-female ratio was 1:0.5. General ward admissions comprised 42.6% (n=17,524 patients) of the emergency department visits, and intensive care unit admissions comprised 0.8% (n=335 patients) of the emergency department visits. The monthly numbers of emergency department visits for asthma varied according to the season, with high peaks during fall, which was from September to November, and low levels in summer, which was from June to August. Conclusions: Important differences in the seasonal patterns of emergency department visits for asthma were evident in children and adolescents. Identifying seasonal trends in asthma-related emergency department visits may help determine the causes and reduce the likelihood of asthma exacerbation.

르 꼬르뷔제 건축에서 신체의 인식에 관한 연구

원윤경,박길룡 대한건축학회 2001 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.21 No.2

The purpose of this study is to understand Le corbusier's recognition about $quot;human body$quot; and a relationship between his architecture and human body. In Ie corbusier's works, $quot;human body$quot; is a fundamental concept. This study summarized three viewpoints; 1)Proportion, 2)Form, 3)Space. The frist is the Modulor, the second is the organic form and the last is related to the perception of human body. His architecture, which had united with this three, give the perceptual experience of phenomena to observer body.

라이프스타일에 따른 피부관리실 선택행동에 관한 연구

원윤경 대한피부미용학회 2003 대한피부미용학회지 Vol.1 No.3

Considering the skin care market of esthetics service area is getting bigger and more competitive, this study tried to make a better understanding of characteristics of customers by their life styles and by identifying how those life styles impact the selection of skin care shop, which will be definitely helpful to management skill for skin care business. The theoretical analysis and experimental research of this study lead to the following conclusions. The first one is the fact that the life style of customers can be used as an effective marketing tool for skin care business. There were poor studies for making use of customer's mind to the marketing of skin care area so far. However this study suggested the life style of customers can be a good marketing point by showing that the selection of the shop is related by the life style of the customers. The second conclusion is that each characteristics classified from life styles can contribute to an appropriate marketing strategy of the management of skin care shop. As a result, this study proposed the conceptual changes, which will enable more proactive and qualified marketing strategies to cope with the current market changes of popularization in quantity and variation in quality. This study can be complemented by a better statistics of more various target customers and also needs to be improved by more marketing oriented analyses.

수면과 관련된 아로마 테라피 고찰

원윤경 한국메이크업디자인학회 2012 한국메이크업디자인학회지 Vol.8 No.2

리플리의 커밍아웃 : <리플리 The Talented Mr. Ripley>의 원작 소설과 두 영화버전에 표현된 동성애 관찰

원윤경 영상예술학회 2005 영상예술연구 Vol.6 No.-

Eastern Masculinity Meets Western Audiences : A Study on the Representation of Masculinity in A Better Tomorrow as Opposed to Rambo

원윤경 영상예술학회 2011 영상예술연구 Vol.19 No.-

1980년대 할리우드는 영웅적인 주인공이 온갖 장애물에도 불구하고 결국 승리를 이룬다는 내용의 액션 영화가 많은 사랑을 받았다. <람보>(1982)로 시작하여 1988년의 3편까지 이어진 “람보” 시리즈가 가장 대표적인데, 마초적인 남성성의 화신과도 같이 재현되고 있는 주인공 ‘람보’는 영웅 그 자체이자 할리우드 액션 영화의 총아가 되었다. 한편, 몇 년 뒤인 1980년대 후반에 이르러 홍콩에서 새롭게 등장한 것이 로맨틱 갱스터 스릴러 또는 홍콩 느와르라 불리는 일련의 영화들이다. 이 장르의 견인차 역할을 한 <영웅본색>(오우삼, 1986)의 제목을 따라서 로맨틱 ‘영웅’물이라 불리기도 한다. 외국어 영화를 싫어하는 미국 관객들의 전반적인 성향에도 불구하고, 오우삼의 영웅물들은 미국 관객들의 관심을 끄는 데에 어느 정도의 성공을 거두었고, 더 나아가 액션 장르의 작가 감독으로 추앙받기에 이르렀으며, 미국 내에 해적판 비디오 시장이 형성되기도 하였다. 본 논문은 오우삼의 영웅물이 미국 관객들을 매혹시킨 지점을 작품 안에서, 동양적(더 정확하게는 중국적) 남성성의 재현에서 찾고자 한다. 먼저 출발한 할리우드 액션 영화의 영웅과는 다른, ‘동양적’이라 이름붙일 수 있는 특유의 남성성을 드러내는 주인공들과 그 재현 방식에 집중하여 <영웅본색>과 <영웅본색2>, 그리고 <람보>와 <람보2>의 ‘영웅’ 주인공을 비교, 대조한다. 그리고 <영웅본색> 시리즈의 남성성 재현이 어떻게 미국의, 서구의 기준에서도 공통점을 찾으면서 동시에 독특하게 어필할 수 있었는지를 살펴본다. 먼저, 근육질의 몸을 드러내고 있는 실베스터 스탤론과 비교했을 때, 선글라스와 레인코트를 걸친 주윤발로 대표되는 <영웅본색> 주요 남성캐릭터들이 재현되는 방식에 주목한다. <람보>에서는 날 것 그대로의 남성성을 남성의 몸에 집중하여 표현하는 반면, <영웅본색> 시리즈에서는 몸보다는 얼굴과 표정에 주목한다. 재현의 방식 중 하나로 쓰인 클로즈업은 관객에게 집중을 강제하는 장치로, <람보>에서는 근육질의 몸 부분, 부분에, <영웅본색>에서는 얼굴에 쓰여 표정을 읽는 데에 사용되는 것을 발견할 수 있다. <영웅본색>이 옷을 입은, 길들여진 남성들만을 표현하는 것은, 퇴행적이거나 거세된 남성성의 이미지를 갖고 있는 아시안 남성들의 이미지를 소비하면서 서구 남성들에게 별다른 저항이나 거부감 없이 받아들여지도록 한 것으로 해석할 수 있을 터이다. 결전의 장면에서 슬로우모션과 롱테이크를 음악과 함께 사용하는 것은 육체성 보다는 그 장면의 비장한 정서를 강조하는 방식으로, 클로즈업으로 남성의 몸을 분절하여 하나의 (성적인) 대상으로 만드는 <람보>와는 명백한 차이가 있다. 영화의 바탕을 이루는 의식구조 역시 극명한 차이를 보인다. <람보>는 서구의 신화에서부터 전통적으로 이어져 내려오는 개인주의적 영웅을 계승하고 있는데, ‘정당하지 못한 시스템에 대항하는 한 개인의 투쟁’이라는 영화의 주제와도 맞물린다. 반면, <영웅본색>의 주인공들은 피가 섞이지 않았다 하더라도 의리와 명예로 맺어진 형제애를 가장 중시한다. 주인공들을 한 프레임 안에 위치시키는 와이드숏을 음악, 슬로우모션, 롱테이크 등과 함께 사용하여 이들의 끈끈한 의리, 함께하는 마음과 행동을 비장하게 표현한다. 이와 같은 형제애의 뿌리는 이성보다 사람 사이의 정을 중시하는 중국/동양의 정서에서 그리고 중국의 고전문학인 삼국지에서 찾아낼 수 있다. 마지막으로 짚어보는 <람보> 시리즈와 <영웅본색> 시리즈의 공통점은 흥미로울 뿐 아니라 의미심장하다. 차이점뿐일 듯한 할리우드 대표 영웅 액션 영화 시리즈와 홍콩의 로맨틱 갱스터 시리즈의 공통점은 다름 아니라 연애나 결혼 등 여성과의 애정관계가 삭제되어 있다는 점이다. 서부영화에서 홀로 석양을 향해 사라지는 고독한 영웅 주인공이나 계속 이어지고 있는 속편에서도 끝내는 여성과 지속적인 관계를 맺지 못하는 배트맨처럼 말이다. 오우삼의 로맨틱 갱스터 영화는 여성과의 관계를 부정하면서 더욱 남성 영웅에게 집중하게 만드는 할리우드의 전략을 이어받으면서 남성 집단의 형제애를 강조하는 동양적 남성성의 낯섦을 완화하는 것이다. Hollywood in 1980s produced action films with heroic protagonist who would eventually achieve victory against all odds, and American audience loved them. The representatives of such films would be First Blood(1982), Rambo:First Blood Part Ⅱ(1985) and the third sequel in 1988, and the protagonist, Rambo, represented the personification of macho masculinity and became the darling of Hollywood action films. On the other hand, a few years later in the late 1980s, Hong Kong produced a series of films called romantic gangster thriller or so-called Hong Kong noir. They are often called romantic 'hero' films after the original, Chinese title of A Better Tomorrow(John Woo, 1986). Despite the fact that American film audiences in general have a notorious antipathy to foreign-language films, John Woo’s hero films succeeded in attracting them, to some extent. Eventually, the director gained fame as an auteur in action genre, and a bootleg video market for his films was established. This essay tries to find out how John Woo’s hero films attracted American audiences in his films, in terms of Eastern-Chinese, to be more precise ways of representing masculinity. By examining, comparing and contrasting the first two Rambo films and the first two A Better Tomorrow films, each as the representatives of Hollywood action films and Hong Kong hero films, I would unveil how Eastern, to be more precise Chinese, and Western concepts and representations of masculinity differ, and how the representation of masculinity finds the common ground with the American or Western standards of masculinity and stands out at the same time. First of all, the essay examines the ways the protagonists of A Better Tomorrow like Chow Yun-fat wearing raincoat and sunglasses are portrayed in comparison with Stallone exhibiting muscular body. Rambo expresses raw masculinity focusing on the muscular male body, but A Better Tomorrow draws attention on the face and facial expression of the characters. Close-up, the efficient device to force the audience to have a hard look at what is shown on the screen, is used on the muscular body parts in Rambo and on interpreting the facial expressions in A Better Tomorrow. The fact that A Better Tomorrow expresses only dressed, tamed male may be interpreted as consuming the images of Asian male, which is undersexed or desexualized, thus Western male audiences could accept the film series without feeling threatened. Slow motion and long takes with music are used in the battle scenes of A Better Tomorrow to emphasize the importance of emotions the main characters share, which is solemn and tragic feelings as they try to defend friendship, loyalty and honor. On the other hand, Rambo’s body in close-ups makes the audience to concentrate on the fragmented body rather than the emotive feelings, thus to materialize and to desire his body as a sexual object. The cultural and psychological backgrounds are also different. Rambo inherits individualism, which is found in the tradition of mythical heroes of the West, and it fits to the film’s theme:the individual’s struggle against an unjust system. On the other hand, the protagonists in A Better Tomorrow put the highest values on the brotherhood, not a literal but figurative one bound with loyalty and honor. Wide shots place the protagonists in the same frame and symbolize the brotherhood of enduring and struggling through all the hardships together. The roots of such brotherhood can be found in Chinese cultural sentiments that values heart and emotive feelings among people rather than reason or principles, and in the Chinese classic literature, The Romance of the Three Kingdoms. Lastly, but not least, the common factor between Rambo films and A Better Tomorrow sequels seems not only interesting but also meaningful. It is nothing but the fact that so-called love interests or physical affection with females do not exist. It is just like the lonely hero walking into the sunset in Western genre or Batman who has problems being in a serious relationship with a woman. In short, John Woo’s romantic gangster films share Hollywood’s strategy to deny the hero's relationship with females and to focus on the male hero. And, by doing so, they efficiently moderate and deliver unfamiliar concept of Eastern masculinity represented by brotherhood in male community.

피부미용분야 아유르베다에 관한 고찰

원윤경 한국피부과학연구원 2008 대한피부미용학회지 Vol.6 No.4

Ayurveda has built up its own medical system with some traditional ways for a long time and it is now regarded as one way of alternative medical care for human body instead of a local treatment of Indian medical science. Based upon centuries of medical methods and know-hows, Ayurveda is nowadays used for the relief of stresses and strains of people in the modern world as its effect is proved scientifically. Ayurveda uses internal cleanness, outer cleanness, and surgical therapy in order to maintain Dosha balance. It selects a right way to cure illness through the analysis of physical condition. It focuses more on patient than the illness itself and thus tries to get the healthy condition and better quality of human life. The health in Ayurveda can be achieved by the balance of three Doshas, the good condition of every organ, and the harmony of body and mind. Our body needs to be cleaned periodically to perform healthy function. The most important factor for healthy body is a good organic streamline. In other words, toxic elements have to be eliminated not to block the organic path. As a new model in the area of medical recovery, Ayurveda pursuits the same trends of Esthetics in the sense of maintaining heathy condition of human body and relieving mental status. However it's not easy to apply Ayurveda into Esthetic area because its method is very complex and complicated. Since the massage therapy of Ayurveda has been applied and practiced clinically for a long time, it can be used for an alternative medical science if we develop more effective ways of its applications. This article covers limited aspects of Ayurveda applications and needs to be studied more with further analysis and investigations in the future. Ayurveda has built up its own medical system with some traditional ways for a long time and it is now regarded as one way of alternative medical care for human body instead of a local treatment of Indian medical science. Based upon centuries of medical methods and know-hows, Ayurveda is nowadays used for the relief of stresses and strains of people in the modern world as its effect is proved scientifically. Ayurveda uses internal cleanness, outer cleanness, and surgical therapy in order to maintain Dosha balance. It selects a right way to cure illness through the analysis of physical condition. It focuses more on patient than the illness itself and thus tries to get the healthy condition and better quality of human life. The health in Ayurveda can be achieved by the balance of three Doshas, the good condition of every organ, and the harmony of body and mind. Our body needs to be cleaned periodically to perform healthy function. The most important factor for healthy body is a good organic streamline. In other words, toxic elements have to be eliminated not to block the organic path. As a new model in the area of medical recovery, Ayurveda pursuits the same trends of Esthetics in the sense of maintaining heathy condition of human body and relieving mental status. However it's not easy to apply Ayurveda into Esthetic area because its method is very complex and complicated. Since the massage therapy of Ayurveda has been applied and practiced clinically for a long time, it can be used for an alternative medical science if we develop more effective ways of its applications. This article covers limited aspects of Ayurveda applications and needs to be studied more with further analysis and investigations in the future.

리플리의 커밍아웃: <리플리The Talented Mr. Ripley>의 원작 소설과 두 영화버전에 표현된 동성애 관찰

원윤경 영상예술학회 2005 영상예술연구 Vol.0 No.6

충청지역 청소년의 여드름 특성에 관한 연구

원윤경 한국피부과학연구원 2009 대한피부미용학회지 Vol.7 No.2

본 연구는 청소년기에 흔히 나타나는 피부질환인 여드름특성을 살펴보고자 충북지역 초등학생, 중학생 및 고등학생 340명을 대상으로 여드름의 등급별 분포 및 여드름의 초발 연령, 인식도, 인지경로, 관리실태를 비교조사하여 다음과 같은 결과를 얻었다. 첫째, 청소년시기에 여드름이 발생한 학생이 81.5%로 대부분을 차지하였으며 이 중 남학생이 81.3%로 여학생 79.9%보다 여드름 유병률이 높았다. 또한 2등급과 3등급의 여드름의 경우 학년이 증가함에 따라 지속적으로 증가하였고, 성별에 따라 여드름 유병별의 변화가 차이가 있었으며, 통계적으로도 유의미한 차이를 보였다(χ2=88.07, p<.001). 여드름 등급과 학교급과의 관계에 살펴본 결과는 여드름 등급은 학교급(r=.404, p<.001)과 통계적으로 유의미한 정적 상관관계를 보였다. 둘째, 청소년들이 여드름의 초발 연령은 14세에 경험한 학생이 23.2%로 가장 많았으며, 성별로는 남학생은 15세에 여학생은 13세로 여학생의 여드름 초발연령이 빠른 것으로 나타났다. 셋째, 학년과 성별에 따라 여드름 등급과 여드름에 대한 상식과의 관계는 전체적으로 여드름 등급과 여드름에 대한 상식은 통계적으로 유의미한 상관관계를 보이지 않았다. 여학생의 경우 여드름 등급은 여드름에 대한 상식(r=.161, p<.05)과 통계적으로 유의미한 정적 상관관계를 보였다. 넷째, 학년에 따라 여드름이 자신에게 미치는 영향에 대해 살펴본 결과는 초등학생이 중․고등학생보다 여드름이 자신에게 많은 영향을 미친다고 인식하였고, 중학생은 초등학생과 고등학생보다 여드름이 자신에게 영향을 미치지 않는다고 인식하였으며, 통계적으로도 유의미한 차이를 보였다(F=4.28, p<.05). 다섯째, 청소년들의 여드름 실태는 여드름이 현재 있는 학생이 81.5%로 대부분을 차지하였으며, 학년별로는 중학생과 고등학생은 각각 93.3%, 92.8%로 초등학생보다 여드름이 현재 있었으며, 통계적으로도 유의미한 차이를 보였다(χ2=93.16, p<.001). 여섯째, 청소년들이 여드름인지경로는 스스로 알게 된 학생이 81.3%로 대부분을 차지하였으며, 학년별로는 초등학생이 11.8%로 중학생과 고등학생 보다 여드름이 있다는 것을 주변 사람들로부터 알게 되었고, 고등학생은 86.0%로 초등학생 66.7%와 중학생 83.0%보다 스스로 알게 되었으며, 통계적으로도 유의미한 차이를 보였다(χ2=22.92, p<.01). 일곱째, 청소년들이 여드름을 관리하는 방법은 여드름을 그냥 내버려두는 학생이 61.3%로 가장 많았으며, 피부관리실에 간다 1.4% 순으로 나타났다. 여덟째, 청소년들이 여드름을 관리하는 이유는 피부가 걱정이 되어 여드름을 관리하는 학생이 87.3%로 대부분을 차지하였으며, 다음으로 부모님이나 형제의 권유, 친구의 권유 순으로 나타났다. 아홉째, 청소년들이 여드름에 대한 정보를 얻는 방법은 인터넷을 통해 얻는 학생이 31.0%로 가장 많았으며, 다음으로 친구 26.4%, 부모, 형제 25.0%, 전문가에게 직접 12.7%, 신문, 잡지, 매스컴 등 4.9% 순으로 나타났다. This survey focuses on the acne characteristics of adolescence in order to collect data for managing this period because acne, a chronic inflammatory disease of sebaceous glands, is mostly developed in adolescent period. The following results were driven by the survey of 340 students in Chung-Cheong area and the analysis of its severity distribution, the initial acne ages, awareness of it, and its management level. 1. 81.5% of the students had initial acne symptoms in their adolescent periods: 83.1% for boys and 79.9% for girls. In case of girls, middle school students showed highest occurrence in 1st-level (worst-level) acne while high school boys showed highest 2nd-level acne rate. And the development of acne differs upon the sex as the statistics show (χ2=88.07, p<.001). Acne level also goes more severe as the ages go higher. (r=.404, p<.001) 2. The age of initial acne generation shows that 14 is highest with 23.2%: 15 for boys and 13 for girls. 3. Statistically the level of acne and the level of common sense for this symptom don't show any correlation except for the girls (r=.161, p<.05). This shows the girl students with higher level of acne have higher level of common sense for acne. 4. The school class statistics show that elementary school students think they are affected by acne while middle school students do not (F=4.28, p<.05). 5. The most students currently have acne (81.5%): 93.3% for middle school students and 92.8% for high school students (χ2=93.16, p<.001). 6. Usually they realize acne by themselves (81.3%): 86.0% for high school students, 83.0% for middle school students, and 66.7% for elementary students (χ2=22.92, p<.001). 7. 61.3% of students don't manage acne while only 1.4% of them take skin care. 8. The reason for managing acne: 87.3% are concerned about their skin. And the others are recommended to do so by their parents, brothers or sisters, friends, etc. 9. The methods of getting information about acne: 31.0% use internet, 26.4% get it from their friends, 25.0% from their parents/brothers/sisters, 12.7% directly from experts, 4.9% from newspaper, magazines, and mass media. The above results show people mostly get acne in their adolescent ages but they don't know how to manage it. So, we need to train them in more proactive ways in order to manage their acne appropriately in its initial generation and thus not to let it go to higer level of symptoms.

Eastern Masculinity Meets Western Audiences: A Study on the Representation of Masculinity in A Better Tomorrow as Opposed to Rambo

원윤경 영상예술학회 2011 영상예술연구 Vol.0 No.19

Hollywood in 1980s produced action films with heroic protagonist who would eventually achieve victory against all odds, and American audience loved them. The representatives of such films would be First Blood(1982), Rambo:First Blood Part Ⅱ(1985) and the third sequel in 1988, and the protagonist, Rambo, represented the personification of macho masculinity and became the darling of Hollywood action films. On the other hand, a few years later in the late 1980s, Hong Kong produced a series of films called romantic gangster thriller or so-called Hong Kong noir. They are often called romantic 'hero' films after the original, Chinese title of A Better Tomorrow(John Woo, 1986). Despite the fact that American film audiences in general have a notorious antipathy to foreign-language films, John Woo’s hero films succeeded in attracting them, to some extent. Eventually, the director gained fame as an auteur in action genre, and a bootleg video market for his films was established. This essay tries to find out how John Woo’s hero films attracted American audiences in his films, in terms of Eastern-Chinese, to be more precise ways of representing masculinity. By examining, comparing and contrasting the first two Rambo films and the first two A Better Tomorrow films, each as the representatives of Hollywood action films and Hong Kong hero films, I would unveil how Eastern, to be more precise Chinese, and Western concepts and representations of masculinity differ, and how the representation of masculinity finds the common ground with the American or Western standards of masculinity and stands out at the same time. First of all, the essay examines the ways the protagonists of A Better Tomorrow like Chow Yun-fat wearing raincoat and sunglasses are portrayed in comparison with Stallone exhibiting muscular body. Rambo expresses raw masculinity focusing on the muscular male body, but A Better Tomorrow draws attention on the face and facial expression of the characters. Close-up, the efficient device to force the audience to have a hard look at what is shown on the screen, is used on the muscular body parts in Rambo and on interpreting the facial expressions in A Better Tomorrow. The fact that A Better Tomorrow expresses only dressed, tamed male may be interpreted as consuming the images of Asian male, which is undersexed or desexualized, thus Western male audiences could accept the film series without feeling threatened. Slow motion and long takes with music are used in the battle scenes of A Better Tomorrow to emphasize the importance of emotions the main characters share, which is solemn and tragic feelings as they try to defend friendship, loyalty and honor. On the other hand, Rambo’s body in close-ups makes the audience to concentrate on the fragmented body rather than the emotive feelings, thus to materialize and to desire his body as a sexual object. The cultural and psychological backgrounds are also different. Rambo inherits individualism, which is found in the tradition of mythical heroes of the West, and it fits to the film’s theme:the individual’s struggle against an unjust system. On the other hand, the protagonists in A Better Tomorrow put the highest values on the brotherhood, not a literal but figurative one bound with loyalty and honor. Wide shots place the protagonists in the same frame and symbolize the brotherhood of enduring and struggling through all the hardships together. The roots of such brotherhood can be found in Chinese cultural sentiments that values heart and emotive feelings among people rather than reason or principles, and in the Chinese classic literature, The Romance of the Three Kingdoms. Lastly, but not least, the common factor between Rambo films and A Better Tomorrow sequels seems not only interesting but also meaningful. It is nothing but the fact that so-called love interests or physical affection with females do not exist. It is just like the lonely hero walking into the sunset in Western genre or Batman who has problems being in a serious relationship with a woman. In short, John Woo’s romantic gangster films share Hollywood’s strategy to deny the hero's relationship with females and to focus on the male hero. And, by doing so, they efficiently moderate and deliver unfamiliar concept of Eastern masculinity represented by brotherhood in male community.