간호 진출 분야 A to Z

이숙경,Lee, Suk-Gyeong 대한간호협회 2006 대한간호 Vol.45 No.5

원자력등급 ESF 공기정화계통 시뮬레이터 제작 및 활용에 관한 연구

이숙경,김광신,손순환,송규민,이계우,박정서,홍순준,강선행,Lee, Sook-Kyung,Kim, Kwang-Sin,Sohn, Soon-Hwan,Song, Kyu-Min,Lee, Kei-Woo,Park, Jeong-Seo,Hong, Soon-Joon,Kang, Sun-Haeng 한국방사성폐기물학회 2010 방사성폐기물학회지 Vol.8 No.4

A nuclear plant ESF ACS simulator was designed, built, and verified to perform experiment related to ESF ACS of nuclear power plants. The dimension of 3D CAD model was based on drawings of the main control room(MCR) of Yonggwang units 5 and 6. The CFD analysis was performed based on the measurement of the actual flow rate of ESF ACS. The air flowing in ACS was assumed to have $30^{\circ}C$ and uniform flow. The flow rate across the HEPA filter was estimated to be 1.83 m/s based on the MCR ACS flow rate of 12,986 CFM and HEPA filter area of 9 filters having effective area of $610{\times}610mm^2$ each. When MCR ACS was modeled, air flow blocking filter frames were considered for better simulation of the real ACS. In CFD analysis, the air flow rate in the lower part of the active carbon adsorber was simulated separately at higher than 7 m/s to reflect the measured value of 8 m/s. Through the CFD analyses of the ACSes of fuel building emergency ventilation system, emergency core cooling system equipment room ventilation cleanup system, it was confirmed that all three EFS ACSes can be simulated by controlling the flow rate of the simulator. After the CFD analysis, the simulator was built in nuclear grade and its reliability was verified through air flow distribution tests before it was used in main tests. The verification result showed that distribution of the internal flow was uniform except near the filter frames when medium filter was installed. The simulator was used in the tests to confirm the revised contents in Reg. Guide 1.52 (Rev. 3).

Reg. Guide 1.52(Rev.3)를 적용한 원전 ESF 공기정화계통 성능시험법 개선 연구

이숙경,김광신,손순환,송규민,이계우,박정서,조병호,유병재,홍순준,강선행,Lee, Sook-Kyung,Kim, Kwang-Sin,Sohn, Soon-Hwan,Song, Kyu-Min,Lee, Kae-Woo,Park, Jeong-Seo,Cho, Byoung-Ho,Yoo, Byeang-Jea,Hong, Soon-Joon,Kang, Sun-Haeng 한국방사성폐기물학회 2010 방사성폐기물학회지 Vol.8 No.4

U. S. NRC Regulation Guide 1.52 regulating ESF ACS in nuclear power plants has been revised to revision 3. To apply reduction of operability test time, allowance of alternative challenge agents for in-place leak test of HEPA filters, and upgrade of Methyl Iodide penetration acceptance criterion in activated carbon performance test suggested in Reg. Guide 1.52(Rev.3) on Yonggwang units 5 and 6 ESF ACSes, technical feasibility study was carried out with on-site experiments as well as experiments with a lab-scale model. It was confirmed that the moisture in the system returned to the level before the test in 1 or 4 days even though the moisture was removed during the operability test lasting more than 10 hours. Therefore, it is appropriate to perform monthly operability test in 15 minutes just long enough to check the operability of equipment. To change challenge material for in-place HEPA filter leak test, size of aerosol, production rate, and leak detection capability were compared for DOP and PAO. It was concluded that PAO can be substituted for DOP in nuclear power plants. The upgrade of Methyl Iodide penetration acceptance criterion from 0.175 % to 0.5 % in active carbon filter bed deeper than 4 inches was to conform to the change of activated carbon performance test method to ASTM D3803(1989). It was confirmed that Methyl Iodide penetration acceptance criterion of 0.5 % under $30^{\circ}C$, relative humidity 95 % condition was conservatively good enough for testing performance of active carbon insitu. The licence change of Yonggwang units 5 and 6 has been completed based on this study.

러시아의 수학 경시 대회와 영재 교육 프로그램

이숙경,최영한,Lee, Suk-Gyeong,Choe, Yeong-Han 한국수학교육학회 1997 수학교육논문집 Vol.6 No.-

두피의 만상동맥류

이숙경 ( Sook Kyung Lee ),이현철 ( Hyeon Cheol Lee ),이흥렬 ( Heung Ryul Lee ),이원우 ( Won Woo Lee ),김동희 ( Dong Hees Kim ) 대한피부과학회 1995 대한피부과학회지 Vol.33 No.5

Cirsoid aneurysm of the calp is a congenital arteriovenous malformation which is the result of abnormal connections betwe:.n the external carotid artery and scalp veins with a subsequent dilatation of vascular channels nd formation of aneurysm. We report a case of cirsoid aneurysm of the scalp on the left parieto-occipital area of 14-year-old female who had had 8 x 5 x 0.8 cm sized pulsating soft mass for 2 years. 4 vessel angiog raphy revealed a arteriovenous malformation that emerge mainly from a superficial temporal artery and occipital artery of the left external carotid artery and partially from the right superficial temporal artery and drined into the left scalp vein. The mass was removed by excision with ligation of the feeding arter es and followed up for 2 years without recurrence. (Kor J Dermatol 1995;33(5): 940-944)

Trichophyton Mentagrophytes에 의한 가성균종

이숙경 ( Sook Kyung Lee ),이봉길 ( Bong Kil Lee ),이흥렬 ( Heung Ryul Lee ),이원우 ( Won Woo Lee ) 대한피부과학회 1996 대한피부과학회지 Vol.34 No.3

Dermatophytes have been demonstrated infrequently in viable tissues such as dermis, subcutis, lymph nodes, bones and other organs. Mycetoma-like lesions caused by dermatophytes, known as pseudomycetoma, have been very rarely reported. A 56-year-old woman presented with several protruding bean to chestnut-sized subcutaneous nodules on the occipital region of the scalp. She had a long term history of epidermolysis bullosa acquisita and intermittent administration of systemic corticosteroids for 5 years. Histopathology of the subcutaneous nodules showed a well encapsulated granuloma containing characteristic lobulated granules consisted of mycelial aggregates. Trichophyton mentagrophytes grew out on the cultures of Sabouraud's media with excised tissues. Surgical excision and itraconazole 200mg per day for 10 weeks was tried and skin lesions are improved with focal recurrence. (Kor J Dermatol 1996;34(3): 480-484)

색소성 양진 2예

이현철 ( Hyun Cheol Lee ),이숙경 ( Suk Keyong Lee ),이흥렬 ( Heung Ryul Lee ),이원우 ( Won Woo Lee ),김덕하 ( Duck Ha Kim ) 대한피부과학회 1995 대한피부과학회지 Vol.33 No.5

Prurigo pigmentosa is a chror ic pruritic inflammatory dermatosis characterized by erythematous papules in a reticulated pattern that resolve leaving a reticulated, mottled hyperpigmentation and rapidly response to dapsone therapy. Most cases that have been reported are from Japan. We report two cases of prurigo pigmentosa in a 21 year-old female and a 23-year-old female. Histopathologic findings of erythematous papules showed exocytosis, spongiosis, liquefaction degeneration of basal cell layer and perivascular lymphohistiocytic infiltration on the upper dermis. We treated them with dapsone, 100mg daily, which resulted in a remarkable regression of the ery thematous papules and improvenien of pruritus. (Kor J Dermatol 1995;33(5): 945-949)

크리스토프 마르탈러의 연출미학 및 공간전략- <믿음 사랑 소망>에 나타난 무대구현에 주목하여

이숙경 ( Lee Suk-kyung ) 한국독어독문학회 2018 獨逸文學 Vol.59 No.1

본고에서는 스위스 태생의 연출가 크리스토프 마르탈러가 연출한 <믿음 사랑 소망>(2012)을 그의 연출미학과 무대구현에 주목해 살펴보고자 한다. 국가, 극장, 장르 불문하고 독일어권 극장에서 전방위로 활동하고 있는 마르탈러는 1993년 이래 베를린 민중극장에서도 간헐적으로 공연하면서 두터운 관객층을 확보하고 있는 연출가이다. 마르탈러의 연출작업에서 눈에 띄는 점은 드라마 텍스트보다는 노래, 말, 낭독에 무게가 실리고, 이례적으로 늘어지며 불협화음을 수반하는 사회적 합창, 의외성을 기반으로 한 반복기법 및 반전기법을 통해 관객의 지각체계를 흔들고 이목을 집중시키는 방식이다. 무대미술가 안나 비브로크와의 공동작업에서는 역사적 변화가 이루어지는 능동적이고 진취적인 공간이 아니라, 많은 것들이 적체되어 있고 빠져나올 수 없을 것 같은 공간이 소시민사회의 감상성, 희극성, 폭력성과 함께 모습을 드러낸다. 사회적 불의와 권력 메커니즘을 문제 삼는 <믿음 사랑 소망>은 무대 구현의 측면에서 결핍과 부재를 드러내는 상징적 공간, 친밀함과 간극이 공존하는 수행적 공간과 연상 공간, 죽음의 기운이 짙게 드리운 음향 및 소리 공간을 창출하여 전망 없는 현실과 사회적 합창의 의미에 대해 성찰하게 한다. Bei Marthalers Regiearbeit ist auffallend, dass eher Wert auf Lieder, Worte und Lesen als auf die dramatischen Texte gelegt wird, dass gesellschaftliche Chore mit kontinuierlichen Veranderungen und Dissonanzen haufig gebraucht werden, und dass die Wiederholungstechnik, die auf einer Uberraschung beruht, oft in Erscheinung tritt. All dies bringt das Wahrnehmungssystem des Publikums zum Schwingen und macht dieses durchgehend auf die Inszenierung aufmerksam. Außerdem bringt Marthaler mit der Buhnenbildnerin Anna Viebrock Raume zum Ausdruck, in denen vieles ruckstandig wie verstopft bleibt und man das Gefuhl hat, nicht herauskommen zu konnen. Bei Glaube Liebe Hoffnung werden bezuglich der Buhnengestaltung Raume dargestellt, z.B. ein symbolischer Raum, in dem Mangel und Abwesenheit in Erscheinung treten, ein performativer und assoziativer Raum, wo Intimitat und Distanz bzw. Entfernung koexistieren, sowie ein Raum von Sound und Gerausch, in dem Todesatmosphare herrscht. Diese Raume beziehen sich inhaltlich auf die soziale Ungerechtigkeit und die Machtmechanismen in einer kleinburgerlichen Gesellschaft. Glaube Liebe Hoffnung lasst das Publikum schließlich uber die aussichtslose Wirklichkeit und die Bedeutung der gesellschaftlichen Chore reflektieren.

안드레아스 크리겐부르크의 <현자 나탄> - 이미지의 구현과 상상력의 매개방식에 주목하여

이숙경 ( Lee Suk-kyung ) 한국독일어문학회 2018 독일어문학 Vol.82 No.-

Die vorliegende Studie untersucht die experimentellen Elemente von Andreas Kriegenburgs Nathan der Weise-Inszenierung. Die Auffuhrung vermittelt auf prägnante Weise Bilder und zielt stark auf die Einbildungskraft. Das Publikum wird dazu veranlasst, die behandelten Themen mit bekannten Filmszenen oder visuellen Versatzstucken zu assoziieren, was in neuen Kombinationen resultiert, die wiederum Anlass zu Reflexionen geben können. Andreas Kriegenburg hat kein Interesse, die Wirklichkeit direkt abzubilden. Er legt viel Wert darauf, im geschlossenen Raum eine poetische Gegenwelt zu entwerfen. Außerdem machen die Gestaltung der Buhne und die Darbietungen der SchauspielerInnen auf selbstreflexive Weise den spielhaften Charakter der Auffuhrung bewusst. Schließlich wird die Einbildungskraft des Publikums auch dahingehend herausgefordert, dass eine Zukunft imaginiert werden soll, die die bösen Geister der Vergangenheit hinter sich lässt und eine Gesellschaft in friedlicher Koexistenz ermöglicht.

미하엘 탈하이머의 연출미학 -<무죄> 공연에 나타난 시선과 공간성에 주목하여

이숙경 ( Suk Kyung Lee ) 서울대학교 독일어문화권연구소 2013 독일어문화권연구 Vol.22 No.-

In dieser Arbeit liegt mein Anliegen darin, Michael Thalheimers Inszenierung Unschuld im Hinblick auf seine Regieasthetik, vor allem die Elemente wie Blick und Raumlichkeit, naher zu betrachten und zu analysieren. Der Text dieser Inszenierung ist ein Drama Dea Lohers, das 2003 veroffentlicht wurde. Gegenstand der Untersuchung ist die Version, die von Thalheimer am 29. 9. 2011 im Deutschen Theater Berlins auf die Buhne gebracht wurde. Auch diese Version ist aus der Zusammenarbeit mit dem Buhnenbildner Olaf Altmann entstanden, der ein minimalistisches Buhnenbild bevorzugt und zeigt. Michael Thalheimer setzt sich bei dieser Inszenierung wiederum mit dem Schmerz unglucklicher Menschen auseinander, die unter unvermeidlichen Katastrophen leiden. Dea Loher betrachtet diese Katastrophen mit Trauer und einem leidvollen Blick. Thalheimer bringt ihren Text in einem Buhnenbild in Verbindung, das wie eine Skulptur wirkt, und fuhrt das Tragische der Figuren damit ins Extrem. Die Figuren finden keinen Ausweg und haben keine Aussicht auf Verbesserung. Daher bleiben sie oft fast bewegungslos am Rande oder auf dem unteren Teil des Kegels stehen, der sich gleichmaßig nach Mechanismen dreht. Ansonsten gehen sie muhsam und schwerfallig auf dem Kegel auf und ab. Jeder Schritt ist ein Kampf. Der Kegel erinnert sehr an einen Sandhugel, eine Bergspitze oder ein Grab. Er dreht sich nicht, wenn an der naturlichen Zeitentwicklung gezweifelt wird. Die Figuren bleiben wie ausgestellte Puppen am Rande des Kegels stehen und stellen die Frage nach Schuld und Suhne. Sie schauen einander kaum an, sondern starren ins Publikum oder in die Luft. Die fast leere Buhne wird nur mit den Worten der Figuren, der Korper- und Bewegungssprache der Schauspieler, durch die es zur Schaffung eines semiotischen Raumes kommt, mit der Spannung erzeugenden Musik, demb angemessenen Gebrauch des medialen und des pragmatischen Raumes sowie den Blicken der Zuschauer erfullt. Die Wechselwirkung von Entleerung und Erfullung spielt also eine entscheidende Rolle bei dieser Inszenierung, deren minimalistisches Buhnenbild mit der Panoptikum-Dramaturgie Lohers die Einbildungskraft der Zuschauer anregt und ihre Reflexion provoziert.