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방재훈련을 통한 재해약자 계단 상승피난 지원에 관한 연구
이지향,北後明彦 한국방재학회 2014 한국방재학회 학술발표대회논문집 Vol.2014 No.-
본 연구에서는 대지진발생에 따른 해일 내습 가정 하에, 해일피난건물 내에서의 재해약자 피난지원 상황에 대해 피난 훈련을 실시하여, 운반용구별, 피난지원자 속성별로 상층으로의 피난지원에 따른 현황을 파악하고자 한다.
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중학교 일반학급과 영재학급의 과학수업에서 교사와 학생사이의 언어적 상호작용 비교 분석
이지향,김동진,황현숙,박세열,백인환,박국태 韓國英才學會 2010 영재교육연구 Vol.20 No.3
This study was to analyze verbal interactions between teachers and students after observations on teachers' questioning and feedback, students' response types and frequency analysis at middle-school class of average and gifted students. As for the verbal interaction between teachers and students of science class of general students, it was dominant for teachers to utilize questions for summarizing or guiding for textbook contents as they are. They were focused on immediate feedback in a restatement form. The students used simple responses like yes/no in general. The most high frequency of verbal interaction models expressed were in the order of cognitive-memory thinking question-short answer-immediate feedback. On the other hand, teachers of gifted students' science class threw divergent and evaluative thinking questions of open question, such as 'what's the reason?' or 'why is it?' Immediate feedback in explanatory form was mainly provided as well. The level of feedback delay was higher than general class and that of immediate feedback was lower than general class. The students preferred short words or a not-complicated sentence when they replied and their participation was more attentive and positive. Hence, The high frequency of verbal interaction models expressed were in order of cognitive-memory thinking questions-elaborative short answer-delayed feedback. 이 연구는 중학교 일반학급과 영재학급의 과학수업을 관찰하여 교사의 발문과 피드백, 학생의 응답에 대한 유형과 빈도 분석을 통해 교사와 학생사이의 언어적 상호작용을 비교 분석한 것이다. 연구 결과, 일반학급의 과학수업에서 교사들은 교과서의 내용을 정리해서 묻거나 그대로 안내하는 발문을 많이 사용하였고, 재진술 형태의 즉각 피드백을 주로 사용하였다. 학생들은 네, 아니오, 와 같은 단순 확인 단답형 응답을 많이 사용하였으며, 언어적 상호작용 모형은 인지․기억적 사고 발문-단답형 응답-즉각 피드백 순서가 가장 많았다. 영재학급의 과학수업에서 교사들은 이유가 뭐에요? 왜 그런 거예요? 와 같은 개방적 발문의 확산적 사고 발문과 평가적 사고 발문을 사용하였고, 설명형 형태의 즉각 피드백을 주로 사용하였다. 일반학급과 비교하여 지연 피드백은 높게 나타났으나 즉각 피드백은 낮게 나타났다. 학생들은 짧은 단어나 간단한 문장 형태의 단답형으로 응답 하였으며, 수업참여가 보다 적극적이었다. 언어적 상호작용 모형은 인지․기억적 사고 발문-문장 형태 단답형 응답-지연 피드백 순서가 많았다.
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A study on the Cultural Character of Russian Ballet
이지향 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-
The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as Ballet Russes' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called neoclassical ballets'or Ballet Russe'overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well bala...
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Studies on Body Fat Ratio and Nutrient Intakes of College Students
이지향,송경희 한국영양학회 2005 Nutritional Sciences Vol.8 No.1
The aim of this study researchs status of the nutrient intake between male and female students and the nutrient intake by BMI. This study was done to investigate the body composition and nutrient intakes of 340 college students (170 males, 170 females) in Gyeonggi area. Weight, height, BMI, and blood pressure of these college students were measured. Nutrient intake was assessed using the 24-hour recall method, and then calculated using the nutritional evaluation program[CAN Pro 2.0 professional (Korean Nutrition Society, 2002)]. Average height and weight were 176±5.1 cm, 70.60±1.1 kg in male students and 162.2±4.5 cm, 54.4±7.7 kg in female students respectively. Subjects were divided into three groups by BMI: underweight (less than 18.5), normal weight (18.5 to less than 23), and overweight (more than 23). The ratios of male and female subjects among these groups were 5.3% and 17.6% in underweight, 50% and 65.3% in normal weight, and 44.7% and 17.2% in overweight. Systolic and diastolic blood pressures were 124.0±1.5 mmHg and 76.1±14.8 mmHg in males and 110.1±12.9 mmHg and 70.1±10.8 mmHg in females, all in the normal range. Using nutrient values of the 7th Recommended Dietary Allowances, the nutrient intake was calculated to Korean RDA (%). Nutrients below 75% Korean RDA were Calcium, Vitamin B2, and Folate and nutrients above 100% RDA were Protein, Fe, Phosphorous, and Vitamin B6. BMI showed positive correlations with body fat (%)(p<0.01) and WHR(p<0.01). Nutritional education is desirable for the improvement of dietary behaviors, body composition and nutrient intake of college students.
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