활천가족실 / 새벽 이미지

이안나 기독교대한성결교회 활천사 1982 활천 Vol.399 No.-

몽골 현대시의 흐름과 전망

이안나 오늘의 문예비평 2008 오늘의 문예비평 Vol.- No.-

건강인에서 연령, 성별 및 ABO 혈액형에 따른 혈장 von Willebrand Factor 항원 농도의 차이

이안나,이경아,송경순 한국지혈혈전학회 1996 한국지혈혈전학회지 Vol.3 No.1

청강 김영기(1911~2003)의 생애와 회화이론 - 1960년대까지를 중심으로

이안나 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.43 No.-

Cheongkang(晴江: pen name) Kim Young-gi(金永基), a painter representative of the Oriental painting circle in Korea, sought to achieve a modern transformation of Oriental painting by reinterpreting traditional literati painting and seeking out works that reflected the realities of the time. By interpreting the function of ‘line(線),’ which is the original characteristic of Oriental ink painting, as a spirituality, he endeavored to aesthetically connect Korean art with the Western abstract art to make it rise to the ranks of the international stage. Above all, while fulfilling his role as a painter and painting theorist, he exerted himself to implement the theory of art in his own works, and made the Oriental painting circle more multi-layered and in-depth by integrating the established theories into Trends of the Chinese Painting Circle (1939), A Theory of Oriental Literati Painting (1958), and A Theory of Oriental Art (1980). He is even more meaningful as a person who left a clear mark in Korea-China painting exchanges by studying in China, the home country of traditional Oriental painting, to bring the trends of the contemporary Chinese art to Korea at a time when studying in Japan was prevalent. However, despite these activities, Kim Young-gi‘s life and painting theory have never been studied in detail. In this paper, I would comprehensively review the life of Kim Young-ki and his role and characteristics in art history, which have not been covered in the past. 청강 김영기는 한국화단을 대표하는 화가로서 전통문인화를 재해석하여 당대의 현실적 모습이 반영된 작품을 모색해 한국화의 현대적 변용을 이루고자 했다. 동양의 수묵화가 갖는 본래의 특성인 ‘선’의 기능을 정신성으로 해석하여 서양의 추상주의와 연결시켜 한국미술을 국제무대의 반열에 오르게 하는 데에 힘썼다. 무엇보다 화가로서 동시에 회화이론가로서 역할을 이행하며 회화이론을 작품에 구현하기 위해 노력했으며 정립된 이론은 「지나화단의 조류」(1939), 「동양의 문인화 예술론」(1958), 『동양미술론』(1980) 등에 집약시켜 한국화단을 더욱 다층적이고 심도 있게 만들었다. 이와 같은 회화론은 일제강점기 전통동양화의 본국인 중국에서 습득한 학문이 기반이 되었으며 당대 중국미술의 동향을 국내에 전하며 일본화풍 일색이었던 근대화단에 다양성을 더해주었다. 그러나 이러한 활동에도 불구하고 김영기의 생애와 회화이론에 대해 자세히 연구된 적은 없었다. 본고에서는 그간 다뤄지지 못했던 김영기의 생애와 그의 미술사적 역할과 특징을 종합적으로 검토하고자 한다.

Rh-Hr 부적합 신생아용혈성질환에 대한 임상적 고찰

이안나,원동일,김현옥,송경순,권오헌,박용원,김세광 대한임상병리학회 1993 대한임상병리학회지 Vol.13 No.1

간호직 공무원의 코로나19 스트레스, 충동성, 가족건강성이 자살생각에 미치는 영향요인

이안나,박완주 한국보건간호학회 2022 韓國保健看護學會誌 Vol.36 No.3

Purpose: This study was conducted to identify factors of COVID-19 stress, impulsiveness, and family strength on suicidal ideation of public nursing officials in community health centers. Methods: This study was a descriptive analysis study the subjects of this study were a total of 145 public nursing officials from community health centers in Busan. The data were analyzed using IBM SPSS/WIN 23.0 version. Result: The result of the predictor analysis showed that the motor impulsiveness (β=.383, p<.001), workload (β=.222, p=.003), cognitive impulsiveness (β =-.205, p=.012), bond (β=-.169, p=.033). The regression model showed an explanatory power of 24.1%. Conciusion: it is necessary to increase impulse and stress control ability, and to adjust the workload. In addition, it is necessary to systematically guarantee a working environment where practical vacation can be used, but it may not be a realistic alternative in a disaster crisis such as COVID-19, so indirect alternatives such as reinforcing infectious disease experts, improving the work environment, and psychological support to prevent suicide in advance are required. .

Copper-catalyzed Arylation with Diaryliodonium Salts

이안나 대한화학회 2016 Bulletin of the Korean Chemical Society Vol.37 No.6

몽골인의 ‘소 신앙’ 연구

이안나 한국몽골학회 2009 몽골학 Vol.0 No.27

This paper observed on the symbolic meaning and the recognition of cow, which Mongolian had within from the ancient. To look through the characteristics of cow's sacredness based on the totem, this paper focused on the understanding about the meaning of cow in Mongolian's life and their culture. Generally speaking, although the majority believes there is close correlation between a cow and cultivation, from the ancient, not only in agrarian society but also in the other cultural area, cow used to worshiped as holy animal which has great power and also globally worshiped over a regional sphere. In Mongolia, cow is an animal have its origin in the heaven, recognized as god, god's guardian, vehicle of god, or the founder of a race. A bull indicated as the external spirit or guardian of a king, this has generally related with the totem. Similar to the other countries, cow has the characteristic of god of the heaven or god of the weather, it is related to the myth symbol containing both principles of the sun and the moon. Bull has a character to supervising weather such as the sun, rain, lightning and thunder. Also a cow also symbolically recognized as the earth, namely called Godmother. The death of a cow has regarded as that accelerate the restoration of the earth and assure the prosperity of livestock farming and rich harvest. In Mongolia, the symbol of a cow very approached to the symbolic form of a cow which the ancient race has, is believed as it originate to conservative characteristics of culture which result from shamanism and Mongolian's nomadic life. This paper observed on the symbolic meaning and the recognition of cow, which Mongolian had within from the ancient. To look through the characteristics of cow's sacredness based on the totem, this paper focused on the understanding about the meaning of cow in Mongolian's life and their culture. Generally speaking, although the majority believes there is close correlation between a cow and cultivation, from the ancient, not only in agrarian society but also in the other cultural area, cow used to worshiped as holy animal which has great power and also globally worshiped over a regional sphere. In Mongolia, cow is an animal have its origin in the heaven, recognized as god, god's guardian, vehicle of god, or the founder of a race. A bull indicated as the external spirit or guardian of a king, this has generally related with the totem. Similar to the other countries, cow has the characteristic of god of the heaven or god of the weather, it is related to the myth symbol containing both principles of the sun and the moon. Bull has a character to supervising weather such as the sun, rain, lightning and thunder. Also a cow also symbolically recognized as the earth, namely called Godmother. The death of a cow has regarded as that accelerate the restoration of the earth and assure the prosperity of livestock farming and rich harvest. In Mongolia, the symbol of a cow very approached to the symbolic form of a cow which the ancient race has, is believed as it originate to conservative characteristics of culture which result from shamanism and Mongolian's nomadic life.

A Facile Method for the Preparation of Unsymmetrical Ureas Utilizing Zirconium(IV) Chloride

이안나,김희권,David H. Thompson 대한화학회 2016 Bulletin of the Korean Chemical Society Vol.37 No.2

A facile synthetic method for the preparation of unsymmetrical ureas from amines is described. Carbamoyl imidazole compounds were prepared by the reaction of 1,1-carbonyldiimidazole with primary or secondary amines, and further activation by treatment with zirconium(IV) chloride to generate the desired urea. This reaction protocol was applied to the synthesis of tri and tetrasubstituted ureas with high yields. This study provides an alternative guideline for the practical preparation of various unsymmetrical ureas.

한・몽 민속과 구비서사에 나타난 까마귀 상징의 양가성 고찰

이안나 경희대학교(국제캠퍼스) 비교문화연구소 2023 비교문화연구 Vol.69 No.-

This study set out to examine the symbolic meanings and ambivalent characteristics of a crow in Korea and Mongolia, and thus understand the concepts of the bird among people in these two countries. The crow has a strong image due to its ill omen both in Korea and Mongolia, but it originally held the symbolism of principle and good omen based on the traditional faith of shamanism. In Korea, the concept of a sun bird with three feet held important meanings in the culture. In Mongolia, there was no concept of a sun bird for the crow, but it played its roles as a heavenly god, envoy of a deity, interpreter of a god, incarnation of a deity, and guardian. In Korea, the crow also played similar roles as a heavenly god, envoy of a mountain spirit, grim reaper and protecting being against the backdrop of shamanism. In both these countries, the crow often appears to deliver news or information in tales, which derives from an ancient idea that the crow is fundamentally a divine spiritual envoy. The crow has ambivalent characteristics, preventing disasters as a dark god and also serving as an unlucky ill omen due to its strong power, black image, and crying sound. In many folk beliefs, the crow predicted different things according to the occasions, times, directions, and places of their cries. In Korea, the crow generally represented something ominous. In Mongolia, it represented something neutral or lucky, in addition to something ominous in general. The crow is similar in Korea and Mongolia for its ambivalent characteristics between good omen and ill omen and between good and evil despite some differences, and perceptions of the crow have changed basically based on shamanism. 본 논의에서는 한‧몽 두 나라의 까마귀의 상징적 의미 및 그 양가적 특성을 살펴봄으로써 두 나라 민중들의 까마귀에 대한 인식을 일별해 보고자 했다. 까마귀는 두 나라 모두 흉조로 부정적 이미지가 강한 새로 자리하지만, 원래 까마귀는 기층신앙인 샤머니즘을 바탕으로 신조요, 길조의 상징성을 가져왔다. 한국에서는 태양새 삼족오의 관념이 문화의 중요한 의미를 지녀왔으며, 몽골에서는 태양새의 관념은 존재하지 않으나 천신, 신령의 사자 및 통역사, 신령의 화신, 수호신 등의 역할을 해왔다. 한국에서도 샤머니즘을 배경으로 천신, 신령의 사자, 저승차사, 수호적 존재 등의 유사한 역할을 담당해 왔다. 까마귀는 두 나라 설화 속에서 소식이나 정보를 전달하는 새로 주로 등장하는데, 이는 근본적으로 까마귀가 신령한 영적 사신이라는 고대 관념에서 파생된 것이라 할 수 있다. 한편 까마귀는 흑신적 존재로 재앙을 막아주는 역할을 하지만, 강한 힘과 검은색 이미지, 우는 소리 등으로 불길한 흉조의 양가적 특성을 띤다. 이것은 속신 등에서 많이 나타나는데, 까마귀의 우는 소리는 때나 시간, 방향, 장소 등에서 각각 예조하는 바가 다르며, 한국에서는 대개 불길한 것을 나타내고, 몽골에서는 대체로 불길하지만 중립적이거나 길하게 나타나기도 한다. 까마귀는 몇 가지 차이는 있으나 두 나라 모두 길흉, 선악의 양가적 특성을 띠는 면에서 유사하며, 기본적으로 샤머니즘을 바탕으로 그 인식이 변천해 왔다고 할 수 있다.