오지호 <남향집> 제작연도에 관한 실증적 연구

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

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.

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

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.

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.

도시 하천의 자정능력향상을 위한 수리학적 특성 연구

오병희(Oh Byung Hee),박성천(Park Sung Chun),김용구(Kim Yong Gu) 대한토목학회 2002 대한토목학회 학술대회 Vol.2002 No.11

커넥티드 자율주행 미래 자동차의 HMI 트렌드와 아젠다

오병희(Byung Hee Oh) 한국자동차공학회 2018 오토저널 Vol.40 No.12

창의력 향상과 인성 함양을 위한 미술관 교육 연구 - ≪북유럽 디자인 NORDIC SPIRIT≫ 전교육프로그램을 중심으로 -

오병희(Oh, Byung Hee) 한국미술교육학회 2019 美術敎育論叢 Vol.33 No.3

본 연구는 북유럽 미술교육 철학을 기반으로 미술관 교육을 통해 아이와 예술가가 함께 참여한 자율적 미술관 교육이 창의성을 길러주고 인성을 함양함을 보여준다. 북유럽 미술관 교육을 통해 창의성은 자유로운 생각과 행동으로 나타났으며 놀이, 미술, 예술창작이 함께한 미술교육은 아이들의 잠재된 창의력을 키웠다. 북유럽 디자인전시의 어린이, 교사를 대상으로 한 전시연계 교육은 자율적인 참여와 공동 작업을 통해 창의력과 공동체의식을 높여주었다. 타인을 존중하고 다양한 생각을 인정하는 포스트모더니즘 사상이 담긴 교육으로 교육청, 학교와 미술관이 상호 협력하는 교육의 사례로 제시하였다. 즉 북유럽의 자율적 생각이 적용된 미술교육은 아이들의 창의성을 높이고 타인을 배려하고 함께 살아가는 창의역량을 높여 줄수 있다. Based on Scandinavia s art education philosophy, this research seeks to demonstrate, through the museum education program of the exhibition ʻʻNordic Spirit,ʼʼ that independent art museum education involving the participation of children and artists fosters creativity and helps build character. Creativity appeared through free thinking and actions in Scandinavian art museum education, and children s latent creativity was grown through education accompanied by playtime, art and art-making. The education program linked to ʻʻNordic Spiritʼʼ for children and instructors was a museum education program fostering creativity and community awareness through free participation and collaborative art-making. It was education in which postmodern thought respecting others and recognizing diverse ideas was applied, and was presented as an example of education in which the government s education department, the school and the art museum mutually cooperated. I.e., art education in which Scandinavia s free thinking is applied can increase children s creativity, and raise the students creative capacity for considerateness towards others and communal life.

관동맥질환의 치료

오병희(Byung Hee Oh) 대한내과학회 2002 대한내과학회지 Vol.62 No.2

N/A

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

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.

제48차 대한내과학회 추계학술대회초록집 : 심포지움 ; 급성심근경색 : 급성 심근경색에서의 저혈압과 심인성쇽

오병희 ( Byung Hee Oh ) 대한내과학회 1996 대한내과학회지 Vol.51 No.-

근현대 남도 남종화의 유교미학적 요소에 관한 연구

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

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.