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      • KCI등재

        오지호 <남향집> 제작연도에 관한 실증적 연구

        오병희(Oh Byung hee) 한국조형디자인학회 2017 조형디자인연구 Vol.20 No.2

        <남향집>은 1930년대에 한국의 자연에 바탕을 둔 한국적 인상주의의 완성한 오지호의 대표작이다. 그리고 <남향집>은 오지호가 1935년부터 1944년까지 거주했던 개성 초당집의 사랑채와 앞뜰의 대추나무를 그린 작품으로 등록문화재로 지정되어 있다. 본 연구는 <남향집>이 1947년경 제작되고 1960년대 후반에 제작되거나 보필되었다는 연구에 관해 반론을 제시하였다. 각종 문헌과 아카이브 자료, 보고서를 근거로 <남향집>이 1939년 빛을 바탕으로 한국인의 정서를 담아 그린 근대미술작품임을 증명하였다. 또한 1948년 오지호 개인전에 사양(斜陽, 25호)으로 출품된 <남향집>에 관한 오지호의 작품 설명을 분석하여 작품을 제작한 계절과 시간, 작품 속 소녀에 관해 밝혀보았다. 이러한 연구를 통해 <남향집>이 1947년경 제작되고 1960년대 후반 재제작되었다는 주장에 대한 반증으로 작품에 대한 사실을 밝혀 보고자 하였다. 먼저 <남향집>이 일제강점기 개성 초당집 사진의 구도, 기물 등과 일치하지 않다는 주장에 관해 개성집 초당집 사진과 <남향집> 작품을 유족의 증언을 토대로 비교․분석하여 일치함을 증명하였다. 그리고 <남향집>의 소재가 전남 화순 동복의 오지호집이라는 주장에 대해 오지호 동복집은 기와집으로 기와집을 초가집으로 바꾸어 <남향집>을 그릴 수 없다는 근거를 제시하였다. 보존상태가 양호하여 해방 후 재제작 되었다거나 앞, 뒷면이 달라 보필하였다는 주장에 대해 1948년 오지호 개인전을 도운 김은수의 회상의 글을 근거로 당시 개성시기 현존하는 작품이 완벽한 상태였으며 1955년 오지호가 목조로 지은 작품 친화적인 오지호 화실을 통해 반증하였다. 그리고 국립현대미술관에서 2008년 오지호 작품 27점을 과학적 분석한 자료를 토대로 해방 후에 오지호가 작품을 덧칠하거나 재제작 했을 가능성이 희박함을 밝혔다. 본 연구의 <남향집>의 제작시기, 재료분석, 작품분석을 통해 한국적 인상주의를 완성한 오지호와 <남향집>에 관해 정당한 평가를 받을 수 있을 것이다. South Facing House is considered a seminal work by Oh Ji-ho who works in a kind of Korean-style Impressionism based on Korean nature. This painting features Sarangchae, a detached building of a residence used as a reception room for male guests, and a jujube tree in Chodangjip in Gaeseong where Oh resided from 1935 to 1944. This residence has been designated as a registered cultural property. This study raises an objection to an assertion that South Facing House was painted and complemented in 1947 or in the late 1960s. This study has verified that this work is a modern artwork painted in 1939 on the basis of literature, archived materials, and survey reports. It has also tried to elucidate the season and time of this painting and the girl appearing in this work based on the description of South Facing House that was on show at Oh’s 1948 solo exhibition under the title The Declining Sun. This has also verified the assertion that this work was not painted after Korea’s liberation from Japanese colonial rule. First of all, it has been proved that the setting of furniture and house hold items in South Facing House matches up with that of the photograph featuring Chodangjip through a comparative analysis on the basis of the bereaved family’s testimony. As to the assertion that South Facing House is a depiction of Oh’s house in Dongbok, Hwasoon, Jeonnam, this study provides evidence that the that thatched-roof house in South Facing House could not have been painted from the roof-tiled house in Dongbok. It has also proved its opposition against the assertion that this work was produced after liberation in consideration of its preservation and material, based on an essay by Kim Eun-soo who assisted at Oh’s 1948 solo exhibition. This study has revealed that the possibility of this work being repainted or reproduced by Oh after liberation is extremely low based on the materials of 27 pieces which the National Museum of Modern and Contemporary Art, Korea scientifically analyzed. A reasonable evaluation of Oh Ji-ho s Korean-style impressionism and his work South Facing House can be made through an analysis of the production period and materials.

      • KCI등재후보

        승모판 협착증 환자에서 이중풍선도자법을 이용한 경피적 풍선판막성형술

        오병희(Byung Hee Oh),현민수(Min Su Hyon),김명아(Myung A Kim),김덕경(Duk Kyung Kim),손대원(Da Won Sohn),이명묵(Myoung Mook Lee),박영배(Young Bae Park),박재형(Jae Hyung Park),최윤식(Yun Shik Choi),서정돈(Jung Don Seo),이영우(Young Woo 대한내과학회 1989 대한내과학회지 Vol.37 No.6

        N/A Percutaneous mitral valvuloplasty (PMU) with a double balloon technique was performed in 41 patients with moderate to severe mitral stenosis from September 1988 to April 1989. Magnetic resonance imaging (MRI) as well as echocardiographic examination was performed before PMV in all the patients with atrial fibrillation and in most cases with sinus rhythm in order to detect left atrial thrombi. There were 31 women and 10 men with a mean age of 37 years (range:17 to 71 years). Successful PMV (mitral valve area > 1.0 cm², increase in mitral valve area>25%, and mean diastolic mitral pressure gradient<10mmHg) was performed in 39 patients (95.1%). Causes of unsuccessful PMV were hemopericardium not requiring drainage and ineffective dilatation despite an uneventful procedure, PMV resulted in increased mitral valve area (1.07±0.33 vs. 2.40±0.85 cm², p<0.001) and decreased mean left atrial pressure (24.0±8.2 vs. 7.3±3.1mmHg, p<0.001), mean diastolic mitral pressure gradient (21.8±7.2 vs. 5.7±2.5mmHg, p<0.001), and mean pulmonary arterial pressure (39.3±17.9 vs. 18.5±9.3mmHg, p<0.001), New or increased mitral regurgitation was noticed in 10 patients (24.4%) on contrast left ventriculography after PMV. Major complications such as death, cardiac tamponade requiring drainage, severe mitral regurgitation over III/IV and systemic embolism have not developed in our cases. Therefore, percutaneous mitral valvuloplasty using a double balloon technique seems to be a safe and effective method of treatment in selected patients with symptomatic mitral stemosis.

      • KCI등재후보
      • KCI등재

        좌파적 정치적 목적성을 가진 존 하트필드의 포토몽타주 연구 - 정통 좌파를 대변하는 AIZ 게재 작품을 중심으로

        오병희 ( Oh Byung Hee ) 한국기초조형학회 2019 기초조형학연구 Vol.20 No.1

        존 하트필드는 1910년대 후반부터 정치적 성격을 지닌 베를린 다다에서 활동한 예술가다. 1918년 독일공산당(KPD)에 가입한 하트필드는 독일의 정치와 사회에 관한 독일공산당의 노선에 따른 작품을 제작하여 당대의 현실을 사회주의적 시각에서 비판하였다. 하트필드의 정치적 목적으로 제작한 235개의포토몽타주를 1930년부터 1938년까지 좌파 사회주의 잡지 AIZ(노동자 화보신문)에 게재하였다. 이러한 하트필드의 포토몽타주는 자본주의에 관한 비판과 히틀러가 집권한 극우 정권인 나치 파시즘의 본질에 관해 독일공산당의 노선을 대중에게 인식시키려는 정치적, 사회적 의도를 가진 선동적인 작품이었다. 그리고 하트필드는 독일공산당 당원으로서 당의 노선에 따른 포토몽타주를 제작하여 바이마르공화국 집권당 사민당과 나치스에 관하여 비판하였다. 본 연구에서 하트필드의 포토몽타주의 정치적 성격을 규명하기 위해 바이마르공화국 정권시기, 극우정당 성장기, 나치스의 집권기로 나누고 독일공산당의 노선변화에 따라 작품을 분석하였다. 첫 번째 시기는 중도파 바이마르공화국의 정치와 사회적 상황에 관해 좌파적 입장에서 자본주의 체제를 비판하였다. 두 번째 시기는 바이마르공화국이 세계대공황으로 붕괴되면서 극우정당이 대두되는 시기로 독일공산당의 주적인 나치스를 비판하고 전체주의와 군국주의를 지향하는 히틀러와 나치스 집권자들에 관해 풍자하였다. 세 번째 시기는 공산주의자 하트필드가 사회주의 사상과 연관된 소련과 노동자에 관한 작품을 통해 사회주의 체제를 옹호하는 작품을 제작한 시기이다. 하트필드의 정치적 성격의 포토몽타주는 소련과 독일공산당의 노선에 따라 중도좌파 정권, 극우 나치스를 공격하여 프롤레타리아와 소련이 주도하는 사회주의 체제를 구축하기 위한 목적성을 지니고 있다. John Heartfield is an artist who has contributed to the political Berlin Dada movement since the late 1910s. A member of the German Communist Party (KPD) since 1918, Heartfield expressed his thoughts by creating art based on a critical eye for German politics and society. Between 1930 and 1938, Heartfield published 235 works of photomontage in the Socialist magazine, Arbeiter-Illustrierte-Zeitung (AIZ, meaning Laborer Illustrated), with a political purpose. Such works by Heartfield had propaganda qualities, and were socially and politically meant to raise the public’s awareness of the true nature of far-right, Nazi Fascism, as well as to criticize Capitalism. A member of the German Communist Party, Heartfield criticized the reality of his time with works following his party lines. This study has classified his photomontage works into three periods: the period of the Weimar Republic; the growth period of the ultraright party; and the period of the Nazis’ rise to power. The first of these periods is characterized by the artist’s criticism of the Capitalist system from a leftist point of view, and concerns the political and social circumstances of the moderate Weimar Republic. The second period is set against the fall of the Weimar Republic due to the global economic depression, and the rise of Nazi Fascism; and is marked by the artist’s criticism of the totalitarian system of Nazism, and his opposition to war, in his satire of contemporary figures such as Adolf Hitler. The third period sees the Communist Heartfield presenting the Soviet Union and the laborer in a positive light. Photomontage which is political messages of John Heartfield used to aim of finality about proletariat and the Soviet Union what built Socialism with snark to Nazi Fascism and leftist followed the Soviet Union also German Communist Party.

      • KCI등재후보

        성인에서의 심장이식 - 17 예 경험에 대한 보고 -

        오병희(Byung Hee Oh),강현재(Hyun Jae Kang),정우영(Woo Young Chung),채인호(In Ho Chae),김효수(Hyo Soo Kim),손대원(Dae Won Sohn),이명묵(Myoung Mook Lee),박영배(Young Bae Park),최윤식(Yun Sik Choi),서정돈(Jung Don Seo),이영우(Young Woo 대한내과학회 1998 대한내과학회지 Vol.55 No.3

        N/A Background: Cardiac transplantation has been established as a treatment of choice for patients with endstage heart failure. However, the experiences of cardiac transplantation are still limited in Korea. Methods Seventeen adult cardiac transplantations (13 males and 4 females) were performed in Seoul National University Hospital since March 1994. Clinical outcome & course, acute rejection, and complications among transplanted patients were reviewed. Results: Underlying cardiac conditions leading to cardiac transplantation were dilated cardiomyopathy in 9, valvular heart disease with severe LV dysfunction after prosthetic valve replacement in 3, restrictive cardiomyopathy in 2, ischemic cardiomyopathy in 1, intractable ventricular tachyarrhythmia in 1 and hypertrophic cardiomyopathy with severe LV dysfunction in 1 patient. Ages of recipients were between 22 and 54 (median-38). Mean follow up duration was 27 months (1-45 months). The frequencies of rejection decreased with time and were similar to those of previous reports 1.23 episodes of rejections per patients during first 3months after transplantation, 0.25 during second 3months, 0.17 and 0.08 during third and fourth 3 months. Infectious complications developed in 21.4% of patients during the first year after transplantation and infectious agents were Cytomegalovirus (CMV), gram negative bacteria, and Candida. One-year survival rate of recipients was 81.9%. Systemic CMV infection in 1, aortic rupture in 1, and sudden death in 1 patient were the causes of mortality, all of which developed during early post-transplantation period. Conclusion: Cardiac transplantation seems to be a reasonable therapeutic regimen for patient with end stage heart failure even in this country with limited experience; however, close attention and management against acute rejection and infectious complications, especially during the early post-transplantation period, are critical for long term survival.

      • KCI등재

        근현대 남도 남종화의 유교미학적 요소에 관한 연구

        오병희(Oh Byung hee) 한국조형디자인학회 2017 조형디자인연구 Vol.20 No.1

        남종화는 동아시아 사상과 정신을 담은 작품으로 남도는 조선후기 이후 남종화 전통이 현재까지 계승ㆍ전개된 지역이다. 근현대 화단에서 허백련은 한국 남종화의 맥을 계승하였으며 단아하고 깊이있는 운필을 통해 남종화를 법고창신하였다. 또한 허백련의 제자들은 남종화의 정신과 기법을 바탕으로 사경산수와 채색을 통해 남도 남종화를 새롭게 전개해 나간다. 본 연구는 근현대 허백련과 제자들이 사의를 추구한 남종화와 삶과 실경을 도입하여 그린 남종화를 연구하는데 성리학과 양명학 등 유교철학으로 작품을 연구하였다. 남도 남종화를 유교철학으로 살펴보면 순수하고 완벽한 이(理)를 추구한 사의와 인품을 추구한 남종화가 있으며, 남종화를 근본으로 남도의 풍경과 정감을넣어 그린 남종화가 있다. 또한 실경과 사람들의 삶을 소재로 한 사경산수는 양명학의 자아의식과 개성을 강조한 작품으로 조선후기 진경산수와 연관된다. 근현대 남종화의 보편적인 정신을 근간으로 풍경과 정서를 담은 작품은 남도만이 가진 독창적인 양식이다. 또한 남도 사경산수는 산과 나무, 물 등 실경에 대한 느낌과 감성을 표현한 개성 있는 작품이다. 이와 같이 남도의 남종화가들은 남종화의 기법과 정신을 바탕으로 남도의 실경과 정서를 담은 개성적인 작품을 그렸다. Southern School Painting, or namjong-hwa, has captured East Asia s spirit and philosophy; and its tradition has continued since the late Chosun era to this day, in Jeollanam-do Province. Heo Baek-ryeon succeeded the lineage of Korea s Southern School of Painting, profoundly innovating the Southern School s style through graceful and exquisite brush strokes. Also, Heo s disciples introduced fully imagined landscapes and colors into Jeollanam-do namjong-hwa while preserving the style s spirit and techniques. Through Confucian philosophy, including Neo-Confucianism; this study examines the namjong-hwa of Heo Baek-ryeon and his disciples, who pursued an original spirit, and Southern School Painting representing life and actual, or true view, landscapes. The Southern School of Namdo painting is classified into two types based on these Oriental philosophies: Namjonghwa seeking perfect, pure “I” (이, 理)(Chinese “li”) as the foundational forces of the universe, saui (사의, 寫意)(expressing the meaning of painting or the spirit of a painter) and personality, and Namjonghwa featuring Namdo’s scenery and emotion. Real-view landscape painting addressing actual landscapes and aspects of actual quotidian life are associated with true-view landscape paintings of the late Joseon Dynasty representing national self-consciousness. Works that feature landscapes and emotions, based on the universal spirit of modern and contemporary Southern School of painting are ingenious paintings unique to Namdo. Also, Namdo’s true-view landscape paintings are distinctive works representing feelings and emotions of realistic landscapes with mountains, trees, stones, and water. Works by Jeollanam-do s namjong-hwa painters embodying local sentiments and representing Jeollanam-do s landscapes painted from life, following the artists complete mastery of Southern School Painting techniques and spirit, require critical evaluation.

      • KCI등재후보
      • KCI등재후보

        우리 나라 농어촌지역 성인의 고혈압 유병률

        오병희(Byung Hee Oh),김창엽(Chang Yup Kim),이건세(Kun Sei Lee),강영호(Young Ho Khang),이영조(Young Jo Lee),강위창(Wee Chang Kang) 대한내과학회 1999 대한내과학회지 Vol.56 No.3

        N/A Objectives : To establish prevalence of hypertension in rural area of Korea, we surveyed adult residents older than 30 years, based on the recommendation and classification of JNC-5(Joint National Committee on Detection, Evaluation, and Treatment of High Blood Pressure). Methods : From December 1996 to February 1997, we studied 4,209 persons in 41 rural areas purposely sampled nationwide. Blood pressure was checked twice at the time of the first visit and again checked twice after one week later for the person fell under hypertension criteria at the first visit. Persons fell under hypertension criteria at the first visit without second visit for recheck were categorized as suspected hypertension. For the suspected hypertension, we predicted whether fell under criteria by logistic regression model. Results : 1) The distributions of blood pressures show unimodal curve, skewed to the right. The peaks of the systolic blood pressure was between 120∼129㎜Hg, tending to move to the right for the age of 50-and-over in male, 70-and-over in female. But peaks of the diastolic blood pressure were consistent between 80∼84㎜Hg in both sexes. The distributions of blood pressures for male were slightly deviated to the right compared with those of the female. 2) The crude prevalence rate of hypertension, defined as systolic blood pressure ≥140㎜Hg or diastolic blood pressure ≥90㎜Hg or taking anti-hypertensive medication, was 25.94%. And the prevalence rate of suspected hypertension was 5.54%. Through the logistic regression model, the prevalence of hypertension was estimated as 29.94%. Age-sex-adjusted prevalence rate for the rural area-Myon regions- was 25.94%, if adjusted to the age-sex composition of the 1995 national census population. 3) Prevalence rate was 27.76% in male and 30.03% in female, if adjusted to the age-sex composition of the base population of this study. Prevalence rate progressively increased with age, higher in men than women before about age 60. 4) Prevalence rates among eight Provinces(Do) was different. Unadjusted rates for Kyonggi Province was 24.74%, and rates for Chonnam Province was 34.18%. But there was no significant differences of the prevalence rate between inland and seaside. 5) By logistic regression model, 65.39% of stage 1 hypertension and 75.51% of stage 2 hypertension at the first visit were estimated as to be included in hypertension criteria. 6) By the JNC-5 classification, only 22.33% of the patients taking anti-hypertensive medication was being controlled. Conclusion : The prevalence rate of hypertension by classification of JNC-5 at rural area was 25.94%. We could not find significant differences of prevalence rate between inland and seaside. Follow-up measurement of blood pressures will be needed to establish more valid prevalence rates of hypertension.

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