임상간호사의 임종간호태도와 영적건강이 임종간호스트레스에 미치는 영향

지순일,유혜숙,Ji, Soon Il,You, Hye Sook 한국호스피스완화의료학회 2014 한국호스피스.완화의료학회지 Vol.17 No.4

목적: 본 연구는 임상간호사의 임종간호태도와 영적건강이 임종간호 스트레스에 영향을 미치는 요인을 파악하기 위한 조사연구이다. 방법: G 광역시 일 종합병원에 종사하는 근무하는 238명의 간호사를 대상으로 자가 보고식 설문지를 이용하여 자료를 수집하였다. 결과: 임상간호사의 임종간호스트레스에 영향을 미치는 요인은 임종간호태도, 영적건강, 결혼유무, 총 임상경력 순이었으며, 임종간호태도와 영적건강이 좋을수록, 기혼일수록, 총 임상경력이 높을수록 임종간호스트레스가 낮게 나타났다. 이들 변수들은 임종간호스트레스에 대하여 52.3%의 설명력을 나타냈다. 결론: 이상의 결과로 임상간호사의 임종간호스트레스의 가장 중요한 요인으로는 임종간호태도로 나타났다. 따라서 간호사의 임종간호스트레스를 효과적으로 대처하고 완화시키기 위해 임종간호태도와 영적건강을 증진시킬 수 있는 교육적 중재프로그램 개발이 필요하다. Purpose: This descriptive study is aimed at understanding how clinical nurses' terminal care attitude and spiritual health affect their terminal care stress. Methods: Data were collected from self-reported questionnaire filled by 238 nurses at a general hospital in G Metropolitan City. Results: The study showed that nurses' attitudes toward terminal care, spiritual health, marital status, and clinical experience largely affect their terminal care stress. In particular, the higher they scored on terminal care attitudes, the lower they scored on terminal care stress. These variables accounted for 52.3% of the total variance. Conclusion: The study shows terminal care attitude is an important factor for terminal care stress perceived by clinical nurses. Therefore, it is necessary to develop an educational intervention program to improve nurses' terminal care attitudes and spiritual health, which in turn would lower their terminal care stress or help them effectively cope with it.

眞景山水畵와 朝鮮性理學

智順任(지순임) 고려대학교 한국학연구소 2009 한국학연구 Vol.30 No.-

眞景山水畵는 통상 反朱子學的인 實學文化의 소산이라 생각 하였던바 근래 새로운 자료의 발굴과 연구를 통해 朝鮮性理學의 사상적 근거로 창안되었음을 認識하게 되었다. 이에 따라 眞景山水畵와 朝鮮性理學의 관련을 밝혀 본 논문인데, 우선 자연을 보는 방법에서부터 朝鮮性理學은 ‘卽物窮理’와 ‘天人合一’의 미적경계를 감수하려면 직접 사물에 나아가 그 理致를 탐구하기에, 實景을 직접 보며 眞面目을 그려내는 眞景山水畵와 같은 관점임을 알 수 있다. 또한 眞景山水畵를 창안한 謙齋는 朝鮮性理學의 朝鮮中華意識을 몸소 실천한 三淵의 제자였고, 또 같은 門下의 ?川은 眞景詩의 거장으로 60여 년을 詩畵換相看할 정도로 절친한 관계이어서 사상적으로 깊게 연결되어 있고, 그림도 이들과 같은 정서로 그렸기에 자연스럽게 朝鮮中華意識이 美意識으로 작용했을 것이다. 실제 眞景山水畵작품에서도 구도는 『周易』의 陰陽 원리를 적용하여 화면을 구성했고, 畵法도 實景의 이치를 파악하여 金剛山이라면 그 많은 봉우리의 趣를 상징할 수 있는 ‘卽物窮理’의 理를 통해 謙齋?을 창안하였음이 발견되고, 謙齋의 氣質은 天機的 性情과 理가 조화되어 畵家로서의 天才性을 발휘한 것으로 볼 수 있다. 그러므로 眞景山水畵에서 ‘眞’ 의미는 朝鮮性理學에서 ‘理’와 같은 맥락임을 밝힌 내용이다.

동양의 미 인식을 위한 미술교육 방법론

지순임(Chee Soon-Im) 한국미술교육학회 2006 美術敎育論叢 Vol.20 No.2

본 연구는 급변하는 현대사회에 적응하느라 마음의 여유가 적어진 청소년들에게 동양의 미 인식을 올바르게 하여 바람직한 정서를 갖게 하기위한 미술 교과 교육 방법론을 제시한 내용이다. 동양에 있어서 미란 외관의 감각적 현상의 미뿐만 아니라 인격적 정신이 내면현상으로 드러나는 인간의 마음까지를 포함하는 미를 말하기 때문에, 동양의 미는 인격도야를 통하여 체득함을 강조한다. 이 아름다움은 유가의 중화(中和), 불가의 중도(中道), 도가의 허실상생(虛實相生)과 같은 실천적 원리를 통해 이룰 수 있는데, 이 실천방안으로 동양회화의 여백을 통해 동양의 미를 바르게 이해시키는 미술 교과수업을 통해 청소년들이 교육적인 체험학습을 할 수 있도록 방법론을 제시하는 연구내용이다. 그리하여 좋은 인성을 함양하여 생활 속에서 여유를 발견하도록 하는 내용으로 초점을 맞춘 세 유형의 여백인식 학습을 통해 미적 체험을 할 수 있도록 연구하였다. This research offers art education methodologies for teaching young adults in a contemporary society where they lack a peace of mind, trying to keep up with the ever-changing times. The accurate understanding of Oriental aesthetics will encourage a healthy emotional development in them. Emphasize that beauty in Oriental aesthetics is acquired through the maturation of personality, because beauty is not just a visual and sensual phenomenon, but also incorporates the human mind that reflects the mental state. The research focuses on providing young adults with an aesthetic experience through art education based on the principles of actual practice for achieving true supreme harmony (中和), moderation (中道), and inter-promotion (相生). Thus, the purpose of the research is to offer a methodology of aesthetic experience in accordance with studying Oriental painting as part of an educational method emphasizing on individuality. The value of a Oriental painting is often determined by ‘graceful liveliness,’ and the works are unique for expressing ‘graceful liveliness’ even in empty spaces. The spacial emptiness is a space of thought for the artist and the viewer, a combination of existence and nothing for it is an embodiment of existence as an actual space for the object, incorporating the practical ideology for acquiring supreme harmony (中和) and interpromotion (相生). Therefore, empty space is the fundamental element of the style of Oriental painting, for it includes the practical ideology for promoting Oriental aesthetics. The plan is to provide an understanding of Oriental aesthetics through the concept of empty space in painting as a creative field for both the artist and the viewer, and an open concept including both the non-existing and existing space, and that both spaces are in an inter-promotional relationship. The 1st education plan concerns the empty space of a painting which nothing painted on the entire half portion of the surface, and is intended to promote aesthetic vision, artistic expression, aesthetic writing skills, contemplative ability, and team work through appreciating art and understanding that the empty space is a space for thought and an open concept. The 2nd education plan is an art appreciation study to understand that the spaces of nonexistence and existence are one through the example of the depiction of water in painting by painting nothing on where the water should be, yet still expresses water. The students will discuss the idea of stylishness in Oriental life and combine it with music, nature, and literature education. The 3rd education plan allows the students to think for themselves while discussing the ‘all is right’ idea of Minister Hwang Hui, and understand that the painted and un-painted sections of a painting appear to contradict each other, but actually are in an inter-promotional relationship. The above-mentioned art education plans are significant as a first-time attempt on its field based on Oriental education methodologies.

시민 아파아트 아파아트 생활과 생활개선

지순 대한지방행정공제회 1969 도시문제 Vol.4 No.8

N/A

중국 山水畵의 始原

지순임 상명여자대학교 1982 상명대학교논문집 Vol.10 No.-

韓國 山水畵의 美的 特質

지순임 한국미학예술학회 1999 美學·藝術學硏究 Vol.10 No.-

『中麓畵品』을 통해 본 明代 浙派繪畵의 후원양상

지순임 미술사학연구회 2006 美術史學報 Vol.- No.26

中麓畵品을 통 해본 明代 浙派繪畵의 後援樣相 Examining the Support for the Zhe School in Ming China through Chinese Painting

3세대 주택의 개발방향

지순,Ji, Sun 대한건축사협회 1986 建築士 Vol.1986 No.10

가치교육의 미학적 접근

지순임 상명대학교 학생생활연구소 1992 학생생활연구 Vol.- No.9

Man is not only a cognitive being with understanding, reason and sensibility but also a value-oriented being toward the highest good. That is, man tends to choose and love that part of science, living, art, etc. Which he thinks is valuable in leading a life. So the value he has is likely to have more effects on human behavior than on cognition. Value lies in human behavior and education seeks a desirable change in human behavior, so that value education has an important part to play in the culture of human nature. The goal of this research is to consider value education from an aesthetic point of view. The results are: First, we could see that value education helps one have sentiments worthy of man and grow into a man of culture and morality. Here sentiments become mature by sensible cognition which in turn lets one choose between good and bad, or beautiful and ugly. Second, value education can be given either in the form of art or through art itself. The former method leads one to reach the values of truth and goodness which are the substance of beauty, and ultimately to have the right sense of value, being awakened to morally good sentiments and human dignity, whereas the latter method leads one to have the desirable sense of value by acquiring gentle sentiments through the direct education of art including music and fine arts. Third, form the standpoint of humanistic aesthetics, value education is far more significant in that it contributes to heightening the quality of life. While ethics deals with human behavior i.e. how one should judge, plan and act in the light of reason, aesthetics deals with that part of human nature which has to do with one's likes and dislikes as well as one's feelings for beauty, loveliness and delight. After all, desirable value education helps one form one's outlook on life and the world on the basis of the components of rational morality. But since this sense of value typically presupposes the sentiments one shares with others, it is “known” only through sensible cognition such as intuition, insight, emotional oneness, or empathy. Thus, as a science of sensible cognition aesthetics helps create the right sense of value, heightening the quality of value and thereby increasing the chances of success of value education.

한국 민화의 예술적 가치연구

지순임 ( Soon Im Chee ) 한국미학예술학회 2006 美學·藝術學硏究 Vol.24 No.-

Folk paintings imply Koreans` aesthetic sense, emotion and a world view of the basic culture. The artistic style of folk paintings go back to the murals of Goguryeo tombs, and after the 18th century, it influenced to the other areas such as architectures and crafts. However, it is hard to study for there are not many information left about artists nor specific dates of folk paintings. In this reason, academically, there are few researches carried out about the artistic value of folk paintings. This paper is to find out the artistic value of folk paintings through expressions of pattern types, material symbols in picturesque context and analysis the formation of the expression rather than its artists and periods. To classify the folk painting types are as follows; firstly, they are based on folk believes such as the symbolism of longevity, of good-luck, of drive away evil spirits, of well-education, of nation and of a life after death. And then considered in its subject symbolism of the main motif. Secondly, analyzed by its formations and expression contexts, there are five different types of art works: repetition of motifs, ignorance of the perspective, simplification and complanation of objects, usage of the colors for the five directions in objects, and comtemporary expression without time concepts. Folk paintings are differ from general paintings and based on complanation theory which are focused on incantation and transmission of meanings. Moreover, they are ideological paintings that can transmit the reality and properties of each objects and easy to deliver the symbolism. Therefore, the expression formation implies the 20th century western contemporary painting styles, such as repetition of formation, symmetry formation and various visual points in cubism. They are not by professional artists who work on the formation concepts, but full of bright, liberal, exciting and cordial fantasies. Furthermore, they are a genre of freedom and imagination without captured in certain form and show us the optimistic characteristic of Koreans` life style. In conclusion, the artistic values of folk paintings are as follows: firstly, they contain wishes and aesthetic consciousness of the social group, secondly, they present it with an honest, boldness and hearted skills and finally, they were drawn excitedly by repeating the picturesque constituents which inspires its vitality.