3년간 치료를 지속한 정신과 외래 노인 환자에서의 다제요법에 대한 연구

유해선(Hae-Sun Yoo),정인과(In-Kwa Jung) 대한노인정신의학회 2010 노인정신의학 Vol.14 No.1

Objectives : The objective of this study was to investigate the prescription trends for the elderly psychiatric outpatients at a university hospital. Methods : We performed a retrospective study based on medical records. Data on 146 elderly patients (65 years and older) diagnosed with psychiatric disorders according to ICD-10 from January 2005 to March 2008 were collected. Analyses were performed regarding demographic characteristics, prevalence of polypharmacy, and the doses and types of drugs prescribed. Results : In 146 subjects, the mean age was 76.14±5.21. More than five types of drugs were prescribed to 49.5% of the patients in 2008. The percentage of stable users (those without changes in the category of polypharmacy for 3 years) was 69.8%. Each patient received an average of 4.20±1.50 kinds of drugs in 2005 and 4.02±1.77 in 2008. The average dose of drugs was 6.1±3.50 in 2005 and 6.49±4.09 in 2008, and the difference was not statistically significant. The average number of types of psychiatric drugs prescribed to the patients decreased from 2.37±0.86 in 2005 to 2.17±0.87 in 2008 (p<0.05). Conclusion : Although practice of polypharmacy showed a slow increase over the 3 years from 2005 to 2008, almost half of the elderly patients we studied received multiple drugs. Since polypharmacy can increase drug-drug interactions and adverse effects in the elderly, appropriate drug monitoring and careful prescription are necessary.

<여와전>의 비평적 성격에 대한 재고 - <투색지연의>와의 관계를 중심으로 -

유해인 (劉海仁) ( Yoo Hae-in ) 한국어문교육연구회 2019 어문연구(語文硏究) Vol.47 No.2

이글은 <여와전>의 비평적 성격을 <투색지연의>를 중심으로 재고한 연구이다. <여와전>은 <투색지연의>의 투색전을 서사의 발단으로 삼고 있다. <여와전>은 문창성의 인물 품평을 통해 투색전으로부터 부여된 작위의 문제를 사건화 한다. 문창성은 각 인물의 덕행과 절행을 중심으로 인물을 품평함으로써 <투색지연의>의 제재인 장편소설에 등장하는 여성 인물에 관한 미색의 문제를 서사에서 사라지게 한다. 더하여 사건의 주 무대를 황릉묘라는 상징적이고 구체적인 공간으로 설정함으로써 서사의 출발이 되었던 투색의 의미로부터 멀어지게 한다. 결국 <여와전>은 <투색지연의>가 장편소설의 여성 인물에게 드리운 색정적 시각을 탈각시키는 방향으로 서사를 구성했던 것이다. 이는 장편소설에 등장하는 여성 인물에 대한 당대 향유층의 윤리 의식이 반영된 결과이다. 따라서 문창성을 중심으로 전개된 일방적인 인물 품평은 <투색지연의>가 위반한 금기를 회복하기 위해 창안한 서사 기법의 산물로 볼 수 있다. This study reconsidered the critical nature of < Yeowachon > by focused on relationship with < Toosaekjiyeoneuy >. < Yeowachon > is beginning from "a battle for beauty" which is main material of < Toosaekjiyeoneuy >. But < Yeowachon > is not turn into a event the "a battle for beauty" of < Toosaekjiyeoneuy >. < Yeowachon > is turn into a event the "title of nobility" which was dubbed through the battle for beauty by MoonChangsung. MoonChangsung has characterized each character's virtue. By doing so, the matter of beauty about the female characters in a long novel, which is the main material of < Toosaekjiyeoneuy >, has disappeared from the narrative. Furthermore, by relocating the narrative space to a symbolic and concrete place called "Hwangneungmyo", < Yeowachon > is able to away from the < Toosaekjiyeoneuy >. < Toosaekjiyeoneuy > is an narrative that retains the sexual desire about the female characters in a long novel. < Yeowachon > has formed as a narrative to deflect this view. The one-sided character review centered around MoonChangsung is the product of the narrative technique invented to erase the mistakes made by < Toosaekjiyeoneuy >.

트라우마 자가치유서사로서의 <전쟁의 슬픔>

유해인 ( Yoo Hae-in ) 한국문학치료학회 2018 문학치료연구 Vol.49 No.-

<전쟁의 슬픔>은 바오 닌의 자전적 소설이다. <전쟁의 슬픔>은 끼엔의 서사 · ‘나’의 서사 · 프엉의 서사가 조직되어 구성된 작품이다. 각각의 서사는 트라우마를 치유해 나가는 단계로 분리하여 살펴 볼 수 있다. 그리고 그 중심에는 그들의 페르소나인 작가 바오 닌이 놓여있다. 이 글에서는 끼엔의 서사 · ‘나’의 서사 · 프엉의 서사를 ‘트라우마 치유 서사’로 구조화하고 각서사 간의 유기적 연관성을 분석하여, 바오 닌이 도달한 치유에 대해 논했다. 끼엔의 서사는 트라우마가 치유로 나가기 위한 첫 단계인 ‘털어놓음’의 서사가 된다. 트라우마에 대한 털어놓기만으로는 궁극적인 치유로 나아갈 수 없다. 털어놓아진 트라우마는 그 특성에 따라 재구성되어야 하는데, 그 과정이 ‘나’의 서사에서 ‘들어줌’이라는 구조로 실현되었다. 치유의 정점은 트라우마를 형성한 원초적 사건인 프엉의 서사를 재인식하는 과정에서 이루어진다. 끼엔은 잊고자 했던 프엉의 서사를 기억하고 다시 사유함으로써 자기서사의 변화를 꾀할 수 있었다. 이렇게 <전쟁의 슬픔>은 살아남은 자에 대한 이야기에서, 살아남은 자의 슬픔에 대한 이야기로, 나아가 살아가는 자에 대한 이야기로 변화해 간다. 바오 닌은 끼엔, ‘나’, 프엉이라는 페르소나를 내세워 소설을 창작함으로써 전쟁이 남긴 상처를 ‘안고’ 살아갈 수 있는 존재로 거듭난 것이다. < The sorrow of War > is the autobiographical novel of Bao Ninh. It is a composition of the epic of "Kiên", "Phuong", and "I". Each epic can be examined separately as a phase of healing trauma. At their core lies the persona of the author, Bao Ninh. In this study, the epics of "Kien", "Phuong", and "I" were structured as a "trauma-healing epics". Then, by analyzing the organic connection between each epic, the study discussed the healing that the author attained. Kien's epic becomes the preface of "self-disclosure" which is the first step for healing trauma. Merely disclosing the trauma cannot lead to ultimate healing. The disclosed trauma should be reconstructed according to its characteristics, a concept that was realized through the aspect of listening in the epic of "I". The peak of healing comes from the re-awareness of the primal scene of the trauma. This happened through self-reconciliation in the epic of "Phuong". < The sorrow of War > begins with the story of the survivor and goes on to narrate the survivor's sorrow. And it changes into a story about the person who lives. In this way, Bao Ninh is reborn as a person who can live with the trauma caused by the war. He healed the trauma through novel creation.

<숙영낭자전>에 나타난 자살의 의미와 그 사회사적 맥락

유해인(劉海仁) ( Yoo Hae-in ) 한국어문교육연구회 2024 어문연구(語文硏究) Vol.52 No.1

이 글은 숙영의 자살 행위가 갖는 의미를 중심으로 ‘숙영’이라는 인물, 나아가 <숙영낭자전>이라는 작품의 의의를 재조명한 논의다. 숙영의 자살은 훼절 모해가 해명된 이후 행하여진 것으로, 가부장적 질서라는 이데올로기의 의미 체계로는 설명할 수 없는 행위였다. 이를 새롭게 의미화하기 위하여 백씨 집안 내 숙영의 위치를 살피었다. 선녀 숙영은 현실 세계에서 자신의 출처를 설명해 줄 명확한 연고가 없어 가부장적 질서가 강하게 작동되는 백상공의 집안에서 용납되지 못한 존재였다. 숙영의 절대적 타자성은 그녀의 자살이 백씨 가문에 대한 저항이라는 의미를 넘어서게 하였다. 더하여 선녀라는 신분의 문학적 관습과 적강형 소설의 일반적 문법에서 벗어나는 작품의 비극적 결말을 고려하여 보니, 숙영의 자살은 조선 후기 가족 제도에 대한 문제 제기로 확장될 수 있었다. 종합하면, <숙영낭자전>은 낭만적 사랑에 대한 동경의 현실적 이면을 조명하는 작품이었다. 낭만적 사랑을 꿈꾸었으나 무참히 좌절하고 마는 숙영은 타자가 침입할 수 있는 틈이 전혀 존재하지 않았던 당대 가부장적 가족 제도의 견고함을 보여주었다. This study revisits the significance of the character Sukyoung and the novel Sukyoung Nangjajeon, focusing on the significance of Sukyoung’s act of suicide. First, this study analyzes Sukyoung’s suicide, which serves as the central motif of the novel. The significance of her suicide becomes apparent when considering its timing. In the novel, Sukyoung takes her life only after the plot to tarnish her reputation has been explained. Furthermore, her suicide is an act that goes against all of the Three Obediences (三從), as she has parents-in-law, children, and the love of her husband Seongun. It is an excessive act that cannot be explained by the ideological meaning systems of chastity or the patriarchal order. Consequently, Sukyoung’s suicide demands a new interpretation. To reinterpret Sukyoung’s suicide, this study examines her position within the Baek family. An examination of the blood letter left behind by Sukyoung after her suicide, combined with the attitude of her parents-in-law who attempted to cover up the situation, makes it evident that Sukyoung was not assured of her position as a daughter-in-law within the Baek family. Lacking blood ties to explain her origins in the real world, Sukyoung is a character of absolute ‘Otherness’ who cannot be tolerated within the rigidly patriarchal family of Baek Sang-gong. The nature of her position means that the significance of her suicide goes beyond mere resistance to Baek Sang-gong. To discuss the significance of Sukyoung’s suicide, this study analyzes the events following her suicide. After burying her body at pond in Okyeondong, Sukyoung is reborn and ascends to heaven, taking Seongun, Chunyang, and Dongchun with her. This conclusion differs from the happy endings found in novels about celestial beings who descend to earth. Its significance becomes apparent when comparing Sukyoung’s status as a fairy, with the endings of romantic love stories popular in the 19th century. Sukyoung Nangjajeon can be seen as a work that sheds light on the realistic aspects of the longing for romantic love. Sukyoung’s pursuit of romantic love ends in cruel disappointment, and her suicide demonstrates the impenetrable nature of the patriarchal family system of the time. Finally, this study discusses the character of Sukyoung herself. Following her suicide, Sukyoung is presented with two opportunities to become a member of the Baek family. However, each time, she refuses to integrate into the family and instead chooses to become an Other. She first becomes a dirty corpse with a knife embedded in her chest, infiltrating every corner of the Baek family home and creating an eerie atmosphere of fear, and then chooses to bury herself in Okyeondong, a space that being devoid of all ties makes her an ‘Other’, rendering herself a complete outsider. It is in this regard that Sukyoung was exceptional. Unlike the myriad female ‘Others’ depicted in classical novels, she did not compromise at a suitable point. By committing acts that were incomprehensible to those around her, she succeeded in rupturing the problematic ideology of the time. Moreover, she achieved this by turning herself into an outsider, solidifying her self-awareness as an Other.

청년주거환경개선을 위한 내부 부착형 소음방지 타일 개발 연구

황인용(Hwang, In-Yong),유해연(Yoo, Hae-Yeon) 대한건축학회 2018 대한건축학회 학술발표대회 논문집 Vol.38 No.2

The purpose of this study is to develop a room - type noise - prevention tile for improving the residential environment of youth. First, the main types and present conditions of youth residence were analyzed. This is based on one block near the university, and the number of households and the actual condition of the environment were surveyed according to the type of housing. Second, the system and laws related to youth residence were examined, and the relevant policies in relation to environmental aspects were reviewed. Third, the characteristics and effects of the types of noise - proof tiles and related materials sold on the market were analyzed. Fourth, based on this, the basic form is firstly planned. Based on this, we propose an experiment on the effect of the sound insulation tile and suggest the possibility of developing an economical and efficient soundproofing tile.