이화여자대학교 학생들의 의료실태에 관한 조사 연구

이종숙,Lee, Jong-Sook 대한예방의학회 1982 Journal of Preventive Medicine and Public Health Vol.15 No.1

A study was carried out in order to obtain the status of student sickness and medical care in University Health Service, Ewha Womans University. This study was based on the clinical records of University Health Service and hospitals 'for student insurance pay claims during the year of 1981. And the findings from the study were as follows; 1. A total number of student patients cared at University Health Service in 1981 was 9,822 and the incidence rate of primary cared was 773 per 1,000 students. 2. A total number of student patients cared at hospitals was 393 and the incidence rate of secondary cared was 31 per 1,000 students and 5 student out of 31 per 1000 was cared under the haspitalization. 3. The evacuation rate of student patients from University Health Service to hospital was 393 out of 9,822 student primary cared or 4.0 percent. 4. The order of 5 major diseases of primary cared in University Health Service was respiratory system diseases (36.6%), Digestive system diseases (17.4%), Skin and subcutaneous tissue diseases (16.0%), Symptoms and undetermined diagnosis (13.7%) and Nerve and sensory organ diseases (12.0%) respectively. 5. The disease order of student patients(333) cared in hospitals as out-patients was Skin and subcutaneous tissue diseases (40.3%), Nervous and Sensory organ disease (19.2%), Digestive system diseases (10.8%) respectively. 6. The disease order of student patients (60) cared in hospitals as in-patients was Digestive system diseases (35.0%), Respiratory system diseases (13.3%), Nerve and sensory organ diseases (10.0%), Infectious and parasitic diseases (10.0%), and Symptom and Undetermined diagonsis (10.0%) respectively. 7. The evacuation rate of student patients in University Health Service to hospital was varied according to disease groups; the lowest rate was the diseases evacuated to Internal Medicine Department 1.5% or 75 out of 5,072 patient primary cared and the highest rate was Neuropsychiatry department 63.7% or 7 out of 11 patients. 8. The monthly distribution of student patients in University Health Service was the highest in September (17.9%) and April (15.5%) each semester. 9. The monthly number of student patients treated in hospitals was the range 20 to 40 in out patients and 2 to 9 in in-patients. 10. The hospital ill days per case were $4.3{\pm}5.0$ days in out-patients and $9.7{\pm}9.5$ days in in-patients.

겉보리 및 쌀보리의 수화속도

이종숙,김성곤,Lee, Jong-Sook,Kim, Sung-Kon 한국식품과학회 1983 한국식품과학회지 Vol.15 No.3

겉보리(올보리와 강보리) 및 쌀보리(세도하다가와 백동)를 각각 40 및 30%도정한 다음, 20, 30 및 $40^{\circ}C$에서 6시간 침지하면서 수화속도를 검토하였다. 수화속도는 수화시간의 평방근에 비례하였고, 확산계수 ($D,\;cm^{2}/min$)는 D = $D_{0}\;{\exp}\;(-E_{a}/RT)$로 표시되었다. 확산계수 값은 강보리가 돌보리보다 다소 높았으며, 세도하다가와 백동은 비슷하였다. 쌀보리의 확산계수는 겉보리보다 다소 높았다. The hydration of water, at $20^{\circ}\;30^{\circ}$ and $40^{\circ}C$ for 10-360 minutes, by the two varieties of husked barley and of naked barley which were polished to 40 and 30%, respectively, was investigated. The absorption was directly proportional to the square root of the hydration time and accounted for by the diffusion equation: 1-M = $(2/{\sqrt\pi})\;(S/V){\sqrt{Dt}}$, where 1-M is the relative moisture gain and S/V is the surface-to-volume ratio. The average diffusion coefficient (D) was given by the Arrhenius relation: D = $D_{0}\;exp\;(-Ea/RT)$, where the activation energy for both husked and naked barley was about 7.2 Kcal/mole. The average value of D for naked barley was slightly higher than that for husked barley.

실내디자인에 나타난 유기적 형태 디자인의 표현특성 유형에 관한 연구 -2000년대 이후 인테리어디자인 잡지에 게재된 작품을 중심으로-

이종숙,박현옥,이한나,Lee, Jong-Sook,Park, Hyun-Ok,Lee, Han-Na 한국디지털건축·인테리어학회 2005 한국디지털건축인테리어학회 논문집 Vol.5 No.1

To begin with, this research arranged this concepts by analyzing paper a reference paper. So, the theory was arranged by approaching the ideal, formative and contemporary side. In order to type characteristics expression of organic design, after year 2000 printed in "Interiors" journal analyzed the contents based on interior works. 1. A type of metaphorical expression, order and the imitations of animals and plants. 2. A type of non liner, and dynamical balance and irregularity. 3. A type of mass of indeterminate form. 4. A type of fluidity by a curved line and a curved surface.

HS-SPME-GC/MS에 의한 혈액중 17종 유기인계 농약의 동시분석법

이종숙,정진미,이한선,염혜선,이상기,박유신,정희선,Rhee, Jong-Sook,Jung, Jin-Mi,Lee, Han-Sun,Yeom, Hye-Sun,Lee, Sang-Ki,Park, Yoo-Sin,Chung, Hee-Sun 대한약학회 2010 약학회지 Vol.54 No.6

HS-SPME-GC/MS was studied and optimized for the determination of 17 orgarnophosphorous pesiticides (OPPs: chlorpyrifos, chlorpyrifos-methyl, demeton-s-methyl, diazinon, dimethoate, EPN, fenitrothion, fenthion, malathion, methidathion, monocrotophos, parathion, phenthoate, phosphamidon, sulfotep, terbufos, triazophos) in blood. Optimum SPME parameters were selected: choice of SPME fiber (85 ${\mu}m$ polyacrylate), pH effect (0.5 N HCl), salt effect ($Na_2SO_4$, 0.2 g; 20%), headspace incubation temperature ($80^{\circ}C$), headspace incubation time (1 min), headspace adsorption time (30 min) and GC desorption time (2 min). These parameters were optimized using HS-SPME autosampler coupled with gas chromatography-mass spectrometry (GC-MS). Method validation was carried out in terms of linearity, limit of detection (LOD), limit of quantitation (LOQ) and recovery in blood. The assay was linear over 0.5~5.0 mg/l ($r^2$=0.955~1.000). Limit of detection (LOD) and limit of quantitation (LOQ) in blood were determined 0.03~0.3 mg/l (S/N=3) and 0.1~1.1 mg/l (S/N=10), respectively. Relative recovery with 0.5, 1 and 5 mg/l (in blood) were 90.8%, 98.5% and 94.1%, respectively. This method will be applied to the determination of the orgarnophosphorous pesticides in postmortem blood. The proposed protocol can be an attractive alternative to be used in routine toxicological analysis.

초등학교 인터넷 교육에서의 미디어 개념에 대한 비판적 고찰

이종숙(Jong-Sook Lee) 한국여성커뮤니케이션학회 2010 미디어, 젠더 & 문화 Vol.15 No.-

이 연구는 현재 초등학교에서 ‘정보통신기술교육’, ‘컴퓨터교육’이라 이름하여 시행되고 있는 인터넷 관련 교육에서 인터넷이라는 미디어에 대한 개념이 어떻게 정의되고 인식되고 있는지를 분석하였다. 지금의 초등학교 인터넷 교육은 인터넷이라는 미디어의 ‘역기능’적인 기술 측면을 경계하며, 그 학습적 ‘도구’로서의 효과와 ‘정보화’ 기기로서의 가치를 강조하였다. 전통적인 미디어교육에서 취해왔던 보호주의적 관점이 초등학교 인터넷 교육에서는 인터넷이라는 이러한 미디어에 대한 인식을 통해 더 강화되어 드러났다. 이는 초등학교 교육을 통해 인터넷 미디어의 개방된 유해 환경을 효과적으로 차단할 수 없다는 점에서, 인터넷은 제한된 교육적 활용을 위해서만 교육되어야 한다는 인식이었다. 이 연구는 인터넷이라는 미디어를 하나의 사물이나 도구로 파악하는 도구주의적 관점의 문제점을 비판적으로 논의하며 초등학교 인터넷 교육에서 인터넷이라는 미디어가 하나의 교육적ㆍ문화적 ‘환경’으로 이해되어 단순한 컴퓨터 기술 교육을 넘어서 비판적 리터러시를 위한 인터넷 미디어 교육으로 나아가야 한다는 것을 제안하고 있다. The purpose of this study is to understand how the meaning of the Internet media for internet education in elementary school is defined, and to propose a new perspective in internet media education for critical literacy. Internet education, now so called ‘Information and Communication Technology(ICT) Education’ or ‘Computer Education’, is simply concentrated on training for computer technique. It is criticized that the internet education put emphasis on dysfunctions of the Internet because the Internet exerts a harmful influence upon elementary school students and the influence is not effectively quarantined in educational environment. This study critically discusses about the protectionism on media education and the instrumentalism on the Internet media. Following the media ecological perspective, which stimulates us to have a wider view on media in order to understand human-media symbiosis, this study speculates on how the Internet could be conditioned as cultural environment of elementary school students, not as a tool or an instrument.

자연사박물관의 전시매체유형 및 연출기법에 관한 고찰

이종숙(Lee, Jong-Sook),김경미(Kim, Kyung-Mi),유동림(Yoo, Dong-Lim) 한국실내디자인학회 2006 한국실내디자인학회논문집 Vol.15 No.1

조선시대 지방 교방 춤 종목 연구

이종숙(Jong-Sook Lee) 순천향대학교 인문학연구소 2012 순천향 인문과학논총 Vol.31 No.1

보통 무용 이론에서는 궁중무용과 민속무용이 서로 다른 것이라고 해 왔다. 특히 궁중에서 추어지는 춤의 종목과 궁중 밖에서 향유되는 춤의 종목은 각각 차이가 있으며, 그 질이 다른 것이라고 학습했다. 본 연구는 이러한 기존이론에 문제를 제기하며, 경향(京鄕) 간에 서로 같은 종목의 춤들이 공유되었음을 밝히고자 했다. 조선시대 전국의 지방 교방(敎坊)에서는 헌선도(獻仙桃), 포구락(抛毬樂), 연화대(蓮花臺), 육화대(六花隊), 학무(鶴舞), 아박(牙拍), 향발(響鈸), 무고(舞鼓), 광수무(廣袖舞), 처용무(處容舞), 검무(劒舞), 사자무(獅子舞), 선유락(船遊樂), 항장무(項莊舞), 황창무(黃昌舞), 승무(僧舞)가 연행되었다. 특히 이들 중 2종목을 제외하고는 모두 국가의 기록인 『악학궤범(樂學軌範)』과 『정재무도홀기(呈才舞圖笏記)』에서 볼 수 있는 정재 종목으로서 기존의 이론에서는 궁중정재라고 믿었던 것들이다. 그러나 이런 춤이 전국의 교방에서 기생들에 의해 춤추어진 종목이라는 점을 읍지(邑誌)와 『교방가요(敎坊歌謠)』, 화보(畵報)를 통해 확인하고 정리했다. 조선초기부터 이미 궁중과 지방의 춤이 축수(祝壽)를 올리거나 놀이적 특성을 갖는 정재 혹은 악기를 연주하며 춤을 추는 등의 정재를 중심으로 공유되었고 유기적으로 상호 유통되었다. 정재(呈才)는 재주를 헌정한다는 뜻일 뿐이다. 춤이나 노래 및 배우ㆍ광대놀이 등이 모두 재주이며, 가무악(歌舞樂)의 집합체인 춤을 올린다는 뜻의 정재는 그 중 하나로써 궁중에서 연향되었고, 또 전국 각지에서도 폭넓게 연행되었다는 사실을 밝혔다. 지방 교방의 춤 역시 예악(禮樂) 사상에 의해 운영되었음을 살폈다. 그로써 궁중예술로 제한되는 정재에 대한 오해를 풀어 한국무용사학의 학술적 오류를 바로잡는데 의의를 둔다. Existing theories on dance argue that royal dance and folk dance are different from each other. Notably, it has been argued that dances performed at royal palaces and those enjoyed outside are different from each other, and that their quality also differs. This study argues the contrary and aims to reveal that the same types of dance were shared between the provincial areas and the capital areas. Dances performed in Gyobang (female entertainer training schools) nationwide in the Joseon period include Heonseondo (獻仙桃), Pogurak (抛毬樂), Yeonhwadae (蓮花臺), Yukhwadae (六花隊), Hankmu (鶴舞), Abak (牙拍), Hyangbal (響鈸), Mugo (舞鼓), Gwangsumu (廣袖舞), Cheoyongmu (處容舞), Geommu (劒舞), Sajamu (獅子舞), Seonyurak (船遊樂), Hangjangmu (項莊舞), Hwangchangmu (黃昌舞), and Seungmu (僧舞). Notably, all these types of dance except two, are mentioned in the state records, namely, Akhakgwebeom (樂學軌範) and Jeongjae mudo holgi (呈才舞圖笏記). The existing theories argue that these Jeongjae dance types are Royal Jeongjae. However, in this study, based on Eupji (records on counties), Gyobang gayo (敎坊歌謠) and records of pictures, it has been confirmed that these dances were performed by giseng (female entertainers) in Gyobang nationwide. This proves that from the early Joseon period, royal palace dances and local dances were similar to each other. The word Jeongjae (呈才) means only dedication of talent. Dance, song, and actor and entertaining performance are all talents. Thus, the finding of this study reveal that Jeongjae, which means 'dedication of dance' the combination of song, dance and music, was one of these, in which Jeongjae was widely performed nationwide. It was also revealed that Jeongjae was an artistic and aesthetic type of dance in the entertainment culture among intellectuals. This study thus corrects the misunderstanding of Jeongjae which was limited only to a form of royal palace arts.

르네상스 영희곡과 "Euripides적" 주제

이종숙 ( Jong Sook Lee ) 서울대학교 인문학연구원 2002 人文論叢 Vol.46 No.-

This study examines the reception and appropriation of Euripides in the English Renaissance, concentrating upon the domestic tragedies produced and published in the period between 1590 and 1610-namely, Arden of Faversham, A Woman Killed with Kindness, and The Yorkshire Tragedy. It challenges received critical orthodoxy about the afterlife of Euripides in Renaissance England and suggests that Euripidean influence on English Renaissance drama was not always mediated by Seneca, but was received in a more direct manner through Latin, Italian and French translations of Euripides published in the first half of the sixteenth century; that it is to be found not exclusively in Senecan court tragedies but also in domestic tragedies. This study suggests that Euripides provided the vocabulary and structure of argument for domestic tragedy as much as for Senecan court tragedy; that both sub-genres explore such characteristically Euripidean questions as those about traditional ideas of sex and gender, sex roles, and the relationship between family and state. Having emerged at the end of the sixteenth century, domestic tragedy articulates the paradigmatic change in the ideas and ideals of sex, marriage, family and state in post-Reformation England. With the emergence of the early modern state, the distinction between private and public became reconceptualized, and sex roles reformulated. The household came to be identified as private, and to be relegated to a position lesser than that of the state, which was identified as public. Women came to be enclosed within the household, excluded from the public sphere. The conceptual framework of sex roles and the relationship between family and state reformulated in post-Reformation England bears a startling similarity to that produced in the Athenian society Euripides questions in plays such as Alcestis and Medea. This similarity best explains why Renaissance England found Euripides so useful for discussions of its own problems and preoccupations. It explains why figures like Alcestis and Medea and Euripidean themes and concerns were mobilized and appropriated in the domestic tragedies of the period between 1590 and 1610 as idioms and structures of argument in discussing the conflicts and tensions in family and marriage in early modem England.

승전무(勝戰舞) 원류(源流)에 관한 재고찰 - 북춤을 중심으로 -

이종숙 ( Lee Jong Sook ) 무용역사기록학회 2004 한국무용사학 Vol.3 No.-

The Comparative study on the history of the Drum Dance in Tongyeong and Mugo(舞鼓) of the Joseon dynasty resulted in that the origin of the former is the latter. In Tongyeong Drum Dance, they sing Jeongeups(井邑詞),beat the drum at the first beat of the rhythmic cycle and they move round to the right. All of these facts are in accord with the records in Akhakgwebeom(樂學軌範) written in the early Joseon dynasty. Compared to the present Mugo of the National Center for Korean Traditional Performing Arts, Tongyeong Drum dance is closer to the original Mugo of the Joseon dynasty. Tongyeong Drum dance in which Jeongeupsa is sung can be traced back to the Goryeo dynasty and the dance should officially be called “Mugo” Seungjeon-mu, the name of the Tongyeong Drum dance, was the name which was made in relation to the excavation project of the cultural assets. It is a wrong name which was made without any derivation. The originality and the historicity of Mugo has been performed for 700 years were distorted by the wrong name. Tongyeong Drum Dnce is the very Mugo that had been handed down by the dancers of the court and the provincial office for gisaeng.

소란 김옥진의 〈남무〉와 정경태 무보 연구

이종숙(Lee Jong Sook) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.22