품종별 현미밥의 조직감 특성 비교

윤미라,이점식,이정희,곽지은,천아름,원용재,김보경,Yoon, Mi-Ra,Lee, Jeom-Sig,Lee, Jeong-Heui,Kwak, Jieun,Chun, Areum,Won, Yong-Jae,Kim, Bo-Kyeong 한국식품영양학회 2014 韓國食品營養學會誌 Vol.27 No.2

Rice (Oryza sativa L.) is one of the most important staple foods in Korea and the consumption of brown rice is increasing annually. The objective of this study is to investigate the physicochemical, hydration and textural properties related to eating quality of cooked brown rice by using glutinous, semi-glutinous, four non-glutinous and four colored varieties. The moisture, protein and total dietary fiber contents of brown rice are shown in the range of 11.1~12.6%, 6.6~8.7% and 6.28~12.40%, respectively. The amount of water uptakes for brown rice during the hydration has shown significant differences. The glutinous variety of Boseogchal indicate the highest water absorption levels by reaching $0.38gH_2O/g$. The hardness of hydration for Seolgaeng is distinctively lower than those of the other brown rice varieties. According to the textural characteristics of cooked brown rice when using the Tensipresser, the hardness of Boseogchal, Baegjinju and Seolgaeng all exhibit the lowest values out of ten varieties and the highest levels of adhesiveness.

자기성장평가가 초등학생의 자존감에 미치는 효과

윤미라(Yoon, Mi-Ra) 한남대학교 교육연구소 2021 교육연구 Vol.27 No.-

본 연구는 자기성장평가가 초등학생의 자존감에 미치는 효과를 검증하는 데 있다. 이를 위해 이질집단 전후검사 설계를 활용하였고 실험군과 통제군은 각각 D광역시의 초등학교 3~6학년과 K, S시 초등학교 3~6학년에 재학 중인 학생으로, 최종 분석에 활용된 학생은 실험군 4,075명과 비교군 2,335명 등 총 6,410명이었다. 자존감에 미치는 자기성장평가의 효과를 검증 결과는 다음과 같다. 첫째, 자기성장평가는 학생의 자존감 문항 전체에 대해 긍정적인 효과가 있었다. 둘째, 자기성장평가는 학생의 자존감 하위영역 중 총제적 자존감, 사회적 자존감, 가정에서의 자존감, 학교에서의 자존감에 대한 집단과 측정시기 간의 상호작용 효과가 유의미한 것으로 나타났다. 셋째, 학년별 자존감에 대한 자기성장평가의 효과를 살펴보면, 3, 4, 6학년에서 유의미한 결과를 보였고, 성별효과를 살펴보면, 남학생과 여학생 모두에게 유의미한 결과가 나왔다. 본 연구는 교수학습과 통합되는 성격을 지닌 자기성장평가가 초등학생의 자존감에 긍정적인 영향을 미친다는 점을 검증하였다는 점에서 의의가 있다. 이러한 연구 결과는 초등학교 교육환경에서 학생의 성장과 발달을 위한 평가가 되어야 함을 시사해 준다. The purpose of this study was to prove the effect of the self-development evaluation model(SDEM) on the self-esteem of elementary school students. For this purpose, a pre- and post-experimental design for heterogeneous groups was used. The experimental group and the control group were students enrolled in the 3rd to 6th grades of elementary school in D Metropolitan City, G and S city, for a total of 6,120 students. The main results are as follows. First, the SDEM had positive effects on self-esteem. Second, the SDEM has positive effects on total self-esteem, social self-esteem, self-esteem in school and self-esteem in home among subscales of self-esteem. Based on research results, the necessity of administrative support system and of longitudinal study to verify long-term effects of the SDEM are suggested.

쌀 품종의 아밀로오스 함량에 따른 호화 및 취반 특성 비교

윤미라 ( Mi Ra Yoon ),오세관 ( Sea Kwan Oh ),이정희 ( Jeong Heui Lee ),김대중 ( Dae Jung Kim ),최임수 ( Im Soo Choi ),이점식 ( Jeom Sig Lee ),김정곤 ( Chung Kon Kim ) 한국식품영양학회 2012 韓國食品營養學會誌 Vol.25 No.4

민속춤에 내재된 주술적 춤 Image 에 관한 연구

윤미라 ( Mi Ra Yoon ) 대한무용학회 1994 대한무용학회논문집 Vol.16 No.-

나침반 만들기 활동에 대한 초등 교사의 인식과 나침반 만들기 활동의 개선 및 적용

윤미라 ( Yoon Mi Ra ),박지선 ( Park Jisun ),박일우 ( Park Il-woo ) 서울교육대학교 초등교육연구소 2017 한국초등교육 Vol.28 No.3

본 연구에서는 초등 교사들이 나침반 만들기 수업에서 겪는 어려움을 조사하였다. 조사 결과를 바탕으로 기존의 나침반 만들기 활동을 개선하고 이를 수업에 적용하여 그 효과를 확인하고자 하였다. 이를 위하여 나침반 만들기 활동을 지도해본 경험이 있는 초등교사 103 명을 대상으로 설문을 실시하였으며, 설문조사 결과를 바탕으로 나침반 만들기 활동을 개선하였다. 개선된 활동을 2개 반 학생들에게 적용하였으며, 수업 전과 후에 개념검사를 실시하였다. 설문 결과, 교사들은 기존의 나침반 만들기 활동에서 나침반 바늘이 정확하게 북쪽을 가리키지 않아 실험에 어려움을 겪었다고 응답하였으며, 나침반 바늘을 자화시키지 않고 간단하게 나침반을 만드는 실험으로 개선되기를 희망하였다. 이를 반영하여 영구자석을 사용한 나침반 만들기 활동으로 개선하였다. 개선된 활동을 초등학교 2개 반에 적용한 결과, 기존의 활동보다 실험 결과의 정확성이 향상되었음을 확인하였다. This study investigated elementary school teachers` difficulties in the compass making activity. Based on the results of the teacher survey, we improved the compass making activities and applied to elementary science lessons. One hundred three elementary school teachers who had experience in teaching the compass making activity participated in this survey. The improved compass making activities were applied to two classes and pre- and post tests were conducted to check the effectiveness of the improved activities in conceptual understanding. The result of the survey showed that the inaccurate experimental result made teachers difficult in their teaching. In addition, teachers hoped that activity would be improved as a simple activity without magnetizing process. Considering the result of the teacher survey, we developed the improved compass making activities with the permanent magnetics. We can confirm that the improved compass making activities show that the more accurate experimental result than the textbook activity.

오행경혈기무의 치료적 유용성

윤미라 ( Mi Ra Yoon ),심혜경 ( Hye Kyung Sim ) 대한무용학회 2020 대한무용학회논문집 Vol.78 No.6

Dance is an art that assumes the form of movement and the most basic characteristics of dance is movement. As a body therapy system that circulates vitality of body and makes energy by circulating energy and blood ceaselessly through the dance movement, principle of dance therapy can be applied. Especially, “Five Elements Meridian Point Qi Dance” which is performed based on the smooth operation of energy and breath with principle of Yin-Yang and Five-Elements that combined Korean dance and Qi dance is considered valuable as a treatment program that reflects the result of Korean medicinal experiment in the domain of current dance therapy program on the basis of principle having something in common with medical principle of traditional curing movement. Oriental medicine sets a high value on the concept of Qi (氣: energy). Qi is an essential element constituting all things in the universe, which is considered a core element in the oriental philosophy that explains essence and origins of matter, existence and activity of things. Regarding human mind and brain as one, Oriental medicine takes an organic and psychosomatic correlative approach. It can be said to be contrast to atomistic and analytic system of Western medicine. Qi enables faithful body activity and maintenance of vital activity, which provides help to performance of functions such as respiratory control, muscle relaxation, body temperature control, digestion absorption control etc. As a movement using Korean dance, energy and breath, Five Elements Meridian Point Qi Dance is composed based on the principle of Yin-Yang and Five-Elements, and is a movement based on the perspective of 14 meridian systems in Korean medicine. In movements of Qi dance, balance of yin and yang is made by controlling deviation of malformation of top and bottom, front and back, inside and outside and left and right by achieving harmony in yin and yang through motion and standstill, pace, folding and unfolding, spreading and gathering of movement. In developing movements of Five Elements Meridian Point Qi Dance, this study adopted a sound (musical instrument) symbolized by movement and five yin that represents symbolic animals of Five Elements, that is to say, Blue Dragon on the left, White Tiger on the right, Vermilion Bird on the south and Black Tortoise on the north. Research in this thesis is considered valuable and significant as it prepared systematic movement and foundation that materializes its effect through organization of a practical program for the possibility of cure and treatment effect through the principle and movement composition of actual and practical dance therapy movement based on the Korean medicinal Five Elements meridian point within the category of dance therapy for movement through the principle of Five Elements meridian point on the basis of Yin-Yang and Five-Elements from the perspective of Korean medicine.

음양오행에 근거한 한국무용의 치료적 기능에 관한 연구

윤미라 ( Mi Ra Yoon ) 대한무용학회 2011 대한무용학회논문집 Vol.69 No.-

This study aims to organize the theory of Korean dance movement based on yin & yang and the five elements and build a theoretical basis for therapeutic function of Korean dance movement which is in connection with oriental medicine based on yin & yang and the five elements. Therefore, the objective of study is to draw an therapeutic function of movement which can keep the healthy body and cure the disease. The theory of Korean dance movement has a system of movement which can induce the balance of yin and yang. And it consists of two movements, one uses yin energy such as convergence and condensation and the other uses yang energy such as divergence and relaxation. Also there is a theory of movement which includes the energy of the five elements in Korean dance movement and it conducts movements of the five elements such as metal, wood, water, fire, and earth. In the aspect of connection with oriental medicine, oriental medicine considers that the balance of yin and yang is the basis of healthy body and examines the function of five viscera connected with the five elements based on synergy and mutually destructive theory. It suggests that mutually destructive relationship between the five elements is the typical phenomenon of disease and draws following results about therapeutic function of Korean dance movement based on performing movements under synergy and mutually destructive relationship. First, Korean dance movement based on synergy relationship can improve the function of five viscera by conducting movements which can be mutually compensated. Second, based on the mutually destructive relationship, five viscera can be improved through the methods of compensation of weak energy and reduction of strong energy of the five elements. As mentioned above, Korean dance movement based on yin & yang and the five elements can induce the bodily condition to be in balance of yin & yang and the five viscera to control its function by conducting the five elements movements, and also it can perform the therapeutic function of prevention of disease and improvement of function of diseased five viscera by maintaining healthy body. Therefore, the therapeutic function of Korean dance movement can be laid down as an action of which objective is not only psychological therapy but also physical body promotion and therapy.

논문 : 사상체질별 신체특성을 고려한 기무(氣舞) 원리에 관한 이론적 접근

윤미라 ( Mi Ra Yoon ),손수현 ( Soo Hyun Son ),이준희 ( Jun Hee Lee ) 대한무용학회 2014 대한무용학회논문집 Vol.72 No.2

This study is a convergence research of Korean dance and Oriental medicine. The purpose of this study is defining the principle of ‘Gimoo’ (氣舞), which is a health-dance program considered of physical characteristic by the four constitutions in Sasang Constitution medicine, a unique area of Oriental medicine. This study suggests the basic principle that ‘Gimoo(氣舞)’ is a health dance based on the principle of ‘Yinyang’ and the circulation of ‘Gi(氣, spirit, energy, force)’ like Oriental medicine.

탈놀이의 표현기법을 통한 한국 창작춤의 새로운 접근

윤미라 ( Mi Ra Yoon ) 대한무용학회 2007 대한무용학회논문집 Vol.51 No.-

The masked play can be said to be the dance containing both the theatrical element and the dance element of folk dance. In general, it can be divided into Haeseo masked dance of the northern district Sandae play of the central district and Deulnoleum and Ohkwangdae of the southern district. This study attempted to compare and analyze masked play according to its regional districts and kinds. And it sought to investigate the expressive technique embedded in masked plan alone by classifying the theatrical and dance element into the content element, dramatic element and dance element. Second, this study not only laid the foundation for this expressive technique to be applied to Korean creative dance by illuminating it from many angles but also attempted to make a creative approach through the combination of the traditional folk drama and dance of play and festival. An attempt was made to investigate the scheme to attempt a new creative approach through the grafting of Korean creative dance and general dance based on the expressive technique of masked play by dividing it into the ceremonial aspect, the expressive aspect and the dramatic aspect. First, it is possible to investigate the ceremonial aspect of masked play by dividing it into the ceremony of exorcism, the ceremony of birth and the ceremony of shamanism. The ceremony of exorcism is the ceremonial one that is performed largely in the beginning of drama. The ceremony of shamanism is the one performed at the end of drama. The meaning of its sequence is important, and the ceremony of birth after death has a large meaning related to the thought of the transmigration of souls. The ceremonial aspect of this masked play are not simply related to the past ceremony but also has an influence on the thought and emotion of contemporary creative dance. Korean creative dance expresses the world of shamanic death originating from offering the sacrifice ritual to the heaven and has the thought and emotion that only our dance has in creative performance. Contemporary Korean creative dance not simply refers to contemporary dance but also contains several ceremonial aspects inherent in traditional Korean dance. One of the distinguishing features of foreign dance and Korean dance is that this ceremonial dance is expressed in subject and content. Contemporary dance accommodates the aspect of traditional thought as well as something new. It is thought that this can be drawn from the ceremonial aspect found in masked dance, one of traditional Korean dances. Second, an investigation into the expressive aspect of masked play revealed that it could be divided into the emotional aspect, the formal aspect of play-performing method and the aspect of Yin and Yang and Five Elements. Masked dance, overall, expresses human feelings such as joy and anger together with sorrow and pleasure in the method of its play development. Especially, it expresses human feelings expressed in Korean dance such as exhilaration, pleasure, sorrow and remorse, and this emotional aspect finds remarkable expression through the musical element of masked dance and the expression of the mask. The subject of masked play was to share and criticize the realistic problem of the day. Dance movements were created by collective exhilaration to fit the times. Contemporary Korean creative dance should be able to choose the subject that the general public can share and enjoy and should be movements appropriate to this age. It is necessary to approach it with the Korean sentiments of joy and anger together with sorrow and pleasure in the work of dance. Accordingly, we could approach new creative dance if we are to identify the emphasis of movement contained in masked play, develop a new dance language and extend expressive techniques. Finally, the element of Yin and Yang and Five Elements finds expression space, dance movement and costume. Dance movements can be seen as consistent with the oriental concept rooted as arts in life by integra

김숙자류 "입춤"과 김백봉류 "산조"의 걷기동작 재현 비교분석

윤미라 ( Mi Ra Yoon ) 대한무용학회 2004 대한무용학회논문집 Vol.39 No.-