100 research outputs found

    ๊ตญ์–ด๊ต์œก์—์„œ์˜ ํ‰๊ฐ€ - ์ˆ˜ํ–‰ ํ‰๊ฐ€๋ฅผ ์ค‘์‹ฌ์œผ๋กœ

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    ์ด ์—ฐ๊ตฌ๋Š” ๊ตญ์–ด๊ต์œก์—์„œ ์ง€ํ–ฅํ•ด์•ผ ํ•  ํ‰๊ฐ€์˜ ๋ฐฉํ–ฅ์„ ๋…ผ์˜ํ•˜๊ณ , ๊ทธ๋Ÿฌํ•œ ๋…ผ์˜๋ฅผ ํ† ๋Œ€๋กœ ๊ตญ์–ด๊ต์œก์—์„œ ํ™œ์šฉํ•  ์ˆ˜ ์žˆ๋Š” ํ‰๊ฐ€์˜ ์›๋ฆฌ๋ฅผ ๊ตฌ์•ˆํ•˜๋Š” ๊ฒƒ์„ ๋ชฉ์ ์œผ๋กœ ํ•œ๋‹ค. ์šฐ๋ฆฌ์˜ ๊ต์œก ํ˜„์‹ค์—์„œ ํ‰๊ฐ€๋Š” ํ•™์Šต์ž์˜ ํ•™์—… ์„ฑ์ทจ ์ •๋„๋ฅผ ํŒ๋‹จํ•˜๊ธฐ ์œ„ํ•œ ๊ฒƒ์ด๋ผ๋Š” ์ผ์ฐจ์ ์ธ ์˜๋ฏธ๋ฅผ ๋„˜์–ด, ๊ต์œก ์ „๋ฐ˜์— ๊ฑธ์ณ ์‹ค์งˆ์ ์ธ ์˜ํ–ฅ๋ ฅ์„ ๋ฏธ์น˜๋Š” ๊ฒƒ์ด๋ผ ํ•  ์ˆ˜ ์žˆ๋‹ค. ํ‰๊ฐ€ ๋ฐฉ๋ฒ•์€ ๊ต์ˆ˜ยท ํ•™์Šต ๋ฐฉ๋ฒ•์„ ๊ฒฐ์ •ํ•˜๊ธฐ๋„ ํ•˜๋ฉฐ, ๋•Œ๋กœ๋Š” ๊ต์œก์˜ ์งˆ๊ณผ ๋‚ด์šฉ์„ ๊ฒฐ์ •ํ•ด ๋ฒ„๋ฆฌ๊ธฐ๋„"1) ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์•„๋ฌด๋ฆฌ ์ข‹์€ ์—ฌ๋Ÿฌ ๊ต์œก์ œ๋„๋ฅผ ์‹œ๋„ํ•˜๋”๋ผ๋„ ๋Œ€ํ•™ ์ž…์‹œ๋ผ๋Š” ์„ ๋ฐœ๊ณ ์‚ฌ์™€ ๋ถ€ํ•ฉํ•˜์ง€ ์•Š์œผ๋ฉด ์œ ๋ช…๋ฌด์‹คํ•ด์ง€๋Š” ๊ฒƒ์ด ํ˜„์‹ค"2) ์ด๋ผ๋Š” ์ง€์ ์€ ๊ต์œก์— ๋ฏธ์น˜๋Š” ํ‰๊ฐ€์˜ ๊ฒฐ์ •์ ์ธ ํž˜์„ ์ž˜ ๋“œ๋Ÿฌ๋‚ด ์ค€๋‹ค. ์ด๋Ÿฌํ•œ ํŠน์„ฑ ๋•Œ๋ฌธ์— ๊ตญ์–ด๊ต์œก์—์„œ ๋น„ํŒ์  ์‚ฌ๊ณ ๋ ฅ, ์ฐฝ์˜๋ ฅ ๋“ฑ์„ ์•„๋ฌด๋ฆฌ ๊ฐ•์กฐํ•ด๋„ ๊ทธ๊ฒƒ์ด ์ ์ ˆํ•œ ํ‰๊ฐ€ ๋ฐฉ๋ฒ•๊ณผ ์—ฐ๊ฒฐ๋˜์ง€ ์•Š์œผ๋ฉด ๊ต์ˆ˜ ยท ํ•™์Šต ํ™œ๋™์—์„œ ๊ฐ„๊ณผ๋˜๋Š” ๊ฒƒ์ด ํ˜„์‹ค์ด๋‹ค. ๋”ฐ๋ผ์„œ ๊ตญ์–ด๊ต์œก์—์„œ ํ‰๊ฐ€์— ๋Œ€ํ•œ ๋…ผ์˜๋Š” ๋‹จ์ง€ ํ‰๊ฐ€์— ๋Œ€ํ•œ ๋…ผ์˜๋กœ ๋๋‚˜๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ ๊ตญ์–ด๊ต์œก ์ „๋ฐ˜์— ๋Œ€ํ•ด ๋…ผ์˜ํ•˜๋Š” ๊ฒƒ๊ณผ ๋™์ผํ•œ ์˜๋ฏธ๋ฅผ ์ง€๋‹Œ๋‹ค. ์ด๋Ÿฌํ•œ ๋…ผ์˜๋ฅผ ์ „์ œ๋กœ, ๋ณธ๊ณ ๋Š” ๊ตญ์–ด๊ต์œก์—์„œ ํ‰๊ฐ€์˜ ๋ฐฉํ–ฅ์€ ์–ด๋– ํ•ด์•ผ ํ•˜๋ฉฐ, ๊ทธ ๋ฐฉํ–ฅ์€ ์–ด๋– ํ•œ ์›๋ฆฌ๋ฅผ ํ†ตํ•ด ๊ตฌํ˜„ํ•ด์•ผ ํ•˜๋Š”์ง€์— ๋Œ€ํ•ด ์ˆ˜ํ–‰ ํ‰๊ฐ€(้€”่กŒ่ฉ•ๅƒน performance assessment)๋ฅผ ์ค‘์‹ฌ์œผ๋กœ ๋…ผ์˜ํ•˜๊ณ ์ž ํ•œ๋‹ค

    A Study on the Design and the Fabrication of 1.3ใŽ› Planar Buried Heterostructure Laser Diode for low leakage current

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    Uncooled operation of the laser diodes up to -45๏ฝž85 โ„ƒ is an important requirement, because in low-cost transmitter modules thermoelectric cooler of the laser is too expensive and therefore has to be avoided. We have theoretically investigated a 1.3 ใŽ› InGaAsP/InPFP (Fabry- Perot) PBH-LD(Planar Buried Heterostructure-Laser Diode) for high temperature operation with low threshold current. Based on the rate equations, we proposed the electrical equivalent circuit of PBH-LD with p-n-p-n current blocking layer. The leakage width and the concentration of p-InP blocking layer can be expressed by a resistor. Consequently, the resistor must be large to reduce leakage current through leakage path. The electrical equivalent circuit was simulated with PSpice circuit simulator. The PBH-LD is fabricated by using the vertical type LPE (Liquid Phase Epitaxy) system. The simulation results were as follows. For 300 ใŽ› cavity length at 25 โ„ƒ, the threshold current and the output power were respectively 6mA and 33 mW with the leakage width of 0.1ใŽ›. Here, the concentration of p-InP blocking layer was 5ร—1017 cm-3. In order to reduce the leakage current in the electrical equivalent circuit of PBH-LD, we need to decrease the concentration of p-InP blocking layer because it means the increase of the resistor. The output power of the fabricated PBH-LD was measured. From the measurement, low threshold current of 6 mA was obtained in 300 ใŽ› cavity length PBH-LD at 25 โ„ƒ. Also, the output power of 29 mW was obtained at about 100 mA. From the comparison between simulation and measurement, we confirmed that the threshold current has same value of 6 mA and the output power of the simulation was larger than measurement because the electrical equivalent circuit wasn't been considered with the dependence of temperature. Hence, if we consider the temperature parameter in the electrical equivalent circuit of PBH-LD, we will achieve more accurate analysis compared with the measurement. In addition, if we could control the precise growth time and temperature in the fabrication of LD, we may fabricate LDs which operates with very low threshold current, high output power, and stable transverse mode at high temperature up to 85 โ„ƒ.์ œ 1 ์žฅ ์„œ๋ก  1 ์ œ 2 ์žฅ PSpice๋ฅผ ์ด์šฉํ•œ PBH-LD์˜ ์„ค๊ณ„ 4 2.1 ํ™œ์„ฑ์˜์—ญ์˜ ์ „๊ธฐ์  ๋“ฑ๊ฐ€ํšŒ๋กœ ์„ค๊ณ„ 5 2.2 ๋ˆ„์„ค๊ฒฝ๋กœ์˜ ์ „๊ธฐ์  ๋“ฑ๊ฐ€ํšŒ๋กœ ์„ค๊ณ„ 10 2.3 ๊ฒฐ๊ณผ ๋ฐ ๊ฒ€ํ†  15 ์ œ 3 ์žฅ LPE๋ฅผ ์ด์šฉํ•œ PBH-LD์˜ ์ œ์ž‘ 21 3.1 MQW-DH ์›จ์ดํผ์„ฑ์žฅ 23 3.2 LPE์— ์˜ํ•œ ์ „๋ฅ˜ ์ฐจ๋‹จ์ธต ์„ฑ์žฅ 25 3.3 3rd growth PBH-LD ์ œ์ž‘ 27 ์ œ 4 ์žฅ PBH-LD์˜ ์ธก์ • ๋ฐ ๊ฒฐ๊ณผ๋ถ„์„ 30 4.1 PBH-LD์˜ ์ „๊ธฐ&#8228๊ด‘ํ•™์  ํŠน์„ฑ 30 4.2 PBH-LD์˜ ํ•ด์„๊ณผ ์ธก์ •๊ฒฐ๊ณผ ๋น„๊ต 34 ์ œ 5 ์žฅ ๊ฒฐ๋ก  36 ์ฐธ๊ณ ๋ฌธํ—Œ 38 ๋ถ€๋ก 4

    A Study on Review Criteria and Evaluation Tools for Arts and Culture Grant Programs

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    ํ•™์œ„๋…ผ๋ฌธ (์„์‚ฌ)-- ์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› : ํ˜‘๋™๊ณผ์ •๋ฏธ์ˆ ๊ฒฝ์˜, 2012. 8. ์ •ํ˜•๋ฏผ.๊ณต๊ณต๊ธฐ๊ธˆ ์‚ฌ์šฉ์— ์žˆ์–ด์„œ ํšจ์œจ์„ฑ๊ณผ ์ฑ…์ž„์„ฑ์„ ์ œ๊ณ ํ•ด์•ผํ•œ๋‹ค๊ณ  ํ•˜๋Š” ๊ฒƒ์€ ์„ธ๊ณ„์ ์ธ ์ถ”์„ธ์ด๋‹ค. ์ด๋Š” ๋ฌธํ™”์˜ˆ์ˆ ๋ถ„์•ผ๋„ ๋‹ค๋ฅด์ง€ ์•Š๋‹ค. ํ•˜์ง€๋งŒ ๊ณต๊ณต์„ฑ์˜ ์›์น™๊ณผ ํšจ์œจ์„ฑ์˜ ์ถ”๊ตฌ๋Š” ๋ฌธํ™”์˜ˆ์ˆ  ๊ณ ์œ ์˜ ๊ฐ€์น˜์™€ ์ข…์ข… ์ƒ์ถฉ๋˜๋ฉฐ ์ด๋Ÿฌํ•œ ๋”œ๋ ˆ๋งˆ๋Š” ๋ฌธํ™”์˜ˆ์ˆ  ์ง€์›์‚ฌ์—…์—์„œ ์ž˜ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ์ •๋ถ€์™€ ๊ณต๊ณต๊ธฐ๊ธˆ์— ํฌ๊ฒŒ ์˜์กดํ•˜๋Š” ์šฐ๋ฆฌ๋‚˜๋ผ ๋ฌธํ™”์˜ˆ์ˆ ๊ณ„์˜ ํ˜„์‹ค์—์„œ ๋ฌธํ™” ์˜ˆ์ˆ  ์ง€์›์˜ ํ–ฅ๋ฐฉ์ด ๋ฌธํ™”์˜ˆ์ˆ ๊ณ„์˜ ์ง€ํ˜•์„ ๊ฒฐ์ •ํ•˜๋Š” ๋ฐ ํฐ ์˜ํ–ฅ์„ ๋ฏธ์น  ์ˆ˜ ์žˆ๋‹ค. ์ตœ์ข… ์ˆ˜ํ˜œ์ž์˜ ์ž…์žฅ์—์„œ ๊ฐ€์น˜์™€ ์˜ํ–ฅ์„ ์ฐฝ์ถœํ•˜์ง€ ๋ชปํ•˜๋Š” ๋ฌธํ™”์˜ˆ์ˆ  ์ง€์›์‚ฌ์—…์€ ๋ฌธํ™”์˜ˆ์ˆ ๊ณ„ ๋ฟ ์•„๋‹ˆ๋ผ ๊ณต๊ณต์— ์•…์˜ํ–ฅ์„ ๋ฏธ์น  ์ˆ˜๋„ ์žˆ๋‹ค. ์šฐ๋ฆฌ ๋ฌธํ™”์˜ˆ์ˆ ๊ณ„๋Š” ์ž์ฒด์ ์œผ๋กœ ์ผ๊ด€๋œ ๊ธฐ์ค€์„ ๊ฐ€์ง€๊ณ  ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ๋ฅผ ์ธก์ •ํ•ด ๋ณธ ๊ฒฝํ—˜์ด ์—†๋‹ค. ํ•˜์ง€๋งŒ ๊ฐ€์น˜์™€ ํšจ๊ณผ์— ๋Œ€ํ•œ ์ž…์ฆ ์—†์ด ๋ฌธํ™”์˜ˆ์ˆ ์— ๋Œ€ํ•œ ๋…ผ์˜๋ฅผ ์‹ฌํ™”์‹œํ‚ค๊ณ  ํ™•๋Œ€ํ•˜๋Š” ๊ฒƒ์€ ๋งค์šฐ ์–ด๋ ค์šด ์ผ์ด๋‹ค. ์ง€์›์‚ฌ์—…์„ ๊ฐœ์„ ํ•˜๋Š” ๊ฒƒ ์—ญ์‹œ ๋‹จ์ง€ ์‚ฌ์—…์ ˆ์ฐจ๋‚˜ ์‚ฌ์—…๊ตฌ์กฐ์˜ ๊ฐœ์„ , ํ”„๋กœ๊ทธ๋žจ ๊ฐœ๋ฐœ์˜ ๊ด€์ ์ด ์•„๋‹ˆ๋ผ ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ์˜ํ–ฅ์— ๋Œ€ํ•œ ์ดํ•ด์™€ ์ด์— ๋Œ€ํ•œ ํŒจ๋Ÿฌ๋‹ค์ž„ ์ •๋ฆฝ์˜ ๋ฌธ์ œ์ด๋‹ค. ์ด ๋…ผ๋ฌธ์˜ ๋ชฉํ‘œ๋Š” ์ „๋žต์  ์„ฑ๊ณผ์ฐฝ์ถœ์˜ ๊ด€์ ์—์„œ ๋ฌธํ™”์˜ˆ์ˆ  ์ง€์›์‚ฌ์—…์˜ ์‹ฌ์‚ฌ์™€ ํ‰๊ฐ€ ๋ถ€๋ถ„์—์„œ ๊ฐ€์น˜ ์ฐฝ์ถœ ๋ฐฉ์‹์„ ๊ณ ๋„ํ™”ํ•˜์—ฌ ๋ฌธํ™”์˜ˆ์ˆ ์„ ํ†ตํ•ด ๊ธ์ •์ ์ธ ํŒŒ๊ธ‰ํšจ๊ณผ๋ฅผ ๊ฐ€์ ธ์˜ค๋Š” ๊ฒƒ์ด๋‹ค. ๋จผ์ € ์‹ฌ์˜๊ธฐ์ค€์„ ๊ฐœ์„ ํ•˜์—ฌ ๊ฐ€์น˜์™€ ํšจ๊ณผ ์ฐฝ์ถœ์ด ๊ฐ€๋Šฅํ•œ ํ”„๋กœ์ ํŠธ๋ฅผ ์„ ๋ณ„ํ•  ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๊ณ , ํšจ๊ณผ ์ธก์ •๊ธฐ๋ฒ•์„ ๋„์ž…ํ•˜์—ฌ ์‚ฌ์—…์˜ ํšจ๊ณผ์™€ ์˜ํ–ฅ์„ ์ธก์ •ํ•˜์—ฌ ์‚ฌ์—… ์„ฑ๊ณผ๋ฅผ ์ž…์ฆํ•˜๊ณ ์ž ํ•œ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ๋ฅผ ์ฐฝ์ถœํ•˜๋Š” ์ง€์›์‚ฌ์—…์œผ๋กœ ๊ฐœ์„ ํ•˜์—ฌ ๊ธฐ๊ธˆ ์‚ฌ์šฉ ํšจ๊ณผ๋ฅผ ๊ทน๋Œ€ํ™”ํ•˜๋Š” ๋ฐ ๊ธฐ์—ฌํ•˜๊ณ ์ž ํ•˜์˜€๋‹ค. ์ด ๋…ผ๋ฌธ์˜ ์—ฐ๊ตฌ๋Œ€์ƒ์€ ํ•œ๊ตญ๋ฌธํ™”์˜ˆ์ˆ ์œ„์›ํšŒ์˜ ๋ฌธ์˜ˆ์ง„ํฅ๊ธฐ๊ธˆ ๋ณด์กฐ์‚ฌ์—…์œผ๋กœ ์‹ฌ์˜์™€ ํ‰๊ฐ€ ๋ถ€๋ถ„์—์„œ ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ๋ฅผ ๋‹ฌ์„ฑํ•  ์ˆ˜ ์žˆ๋Š” ๊ตฌ์กฐ์ธ์ง€ ๋ถ„์„ํ•œ ํ›„, ๊ฐœ์„ ์•ˆ์„ ์ œ์‹œํ•˜์—ฌ ์‚ฌ์—…์˜ ๊ธฐ๋Šฅ ๋ฐ ์—ญํ• ์„ ์ œ๊ณ ํ•˜๊ณ ์ž ํ•˜์˜€๋‹ค. 2์žฅ์—์„œ ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ, ์˜ํ–ฅ์— ๋Œ€ํ•œ ๊ตญ๋‚ด์™ธ ์„ ํ–‰ ์—ฐ๊ตฌ๋ฅผ ์‚ดํŽด๋ณธ ๋’ค, ๋ฌธํ™”์˜ˆ์ˆ ์˜ ์˜ํ–ฅ์„ ์ •๋ฆฌํ•œ ์ œ์‹œํ•œ ์กฐ์Šˆ์•„ ๊ฒŒ์ธ ์ฝ”์šฐ(Joshua Guetzkow)์˜ ๋ถ„์„ํ‹€์„ ๋ฐ”ํƒ•์œผ๋กœ ๋ฌธํ™”์˜ˆ์ˆ ์˜ ํšจ๊ณผ๋ฅผ ์ •์‹  ๋ฐ ์‹ ์ฒด์  ํšจ๊ณผ, ์ธ์ง€์  ํšจ๊ณผ, ๋Œ€์ธ๊ด€๊ณ„ ํšจ๊ณผ๋ฅผ ํฌํ•จํ•˜๋Š” ๊ฐœ์ธ์  ํšจ๊ณผ์™€ ๊ฒฝ์ œ์  ํšจ๊ณผ, ๋ฌธํ™”์  ํšจ๊ณผ, ์‚ฌํšŒ์  ํšจ๊ณผ๋ฅผ ํฌํ•จํ•˜๋Š” ์‚ฌํšŒ์  ํšจ๊ณผ๋กœ ์ •๋ฆฌํ•˜์˜€๋‹ค. 3์žฅ์—์„œ๋Š” ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ ์ฐฝ์ถœ์˜ ๊ด€์ ์—์„œ ํ•œ๊ตญ๋ฌธํ™”์˜ˆ์ˆ ์œ„์›ํšŒ๊ฐ€ ์ˆ˜ํ–‰ํ•˜๋Š” ๋ฌธ์˜ˆ์ง„ํฅ๊ธฐ๊ธˆ ๋ณด์กฐ์‚ฌ์—…์˜ ์‹ฌ์˜์™€ ํ‰๊ฐ€๋ถ€๋ถ„์„ ๋ถ„์„ํ•˜์˜€๋‹ค. 4์žฅ์—์„œ๋Š” ๊ฐ™์€ ๋ถ€๋ถ„์„ ์ค‘์‹ฌ์œผ๋กœ ๋ฏธ๊ตญ์˜ ์˜ˆ์ˆ ์ง„ํฅ๊ธฐ๊ธˆ(National Endowments for the Arts, NEA), ์˜๊ตญ ์˜ˆ์ˆ ์œ„์›ํšŒ(Arts Council England, ACE)์˜ ๋ฌธํ™”์˜ˆ์ˆ  ์ง€์›์‚ฌ์—…๊ณผ ๋น„๊ต๋ฅผ ํ†ตํ•ด ๋ฌธ์˜ˆ์ง„ํฅ๊ธฐ๊ธˆ ๋ณด์กฐ์‚ฌ์—…์˜ ๋ฌธํ™”์˜ˆ์ˆ ์˜ ๊ฐ€์น˜์™€ ํšจ๊ณผ ์ฐฝ์ถœ ๋ถ€๋ถ„์ด ๋ฏธํกํ•˜๋ฉฐ ๊ฐœ์„ ๋  ํ•„์š”๊ฐ€ ์žˆ๋‹ค๊ณ  ์ง€์ ํ•˜์˜€๋‹ค. ์ด๋Ÿฌํ•œ ์ธ์‹์„ ๋ฐ”ํƒ•์œผ๋กœ 5์žฅ์—์„œ ๋ฌธ์˜ˆ์ง„ํฅ๊ธฐ๊ธˆ ๋ณด์กฐ์‚ฌ์—…์„ ํ†ตํ•œ ๋ฌธํ™”์˜ˆ์ˆ  ๊ฐ€์น˜์™€ ํšจ๊ณผ ์ œ๊ณ ๋ฅผ ์œ„ํ•œ ๋ฐฉ์•ˆ์„ ์ œ์•ˆํ•˜์˜€๋‹ค. ๋จผ์ € ๋ฌธํ™”์˜ˆ์ˆ ์˜ ํšจ๊ณผ๋ฅผ ๊ทน๋Œ€ํ™”ํ•  ์ˆ˜ ์žˆ๋Š” ์‚ฌ์—…์„ ์„ ์ •ํ•  ์ˆ˜ ์žˆ๋Š” ์‹ฌ์˜๊ธฐ์ค€์•ˆ์„ ์ œ์‹œํ•˜์˜€๋‹ค. ๊ทธ๋Ÿฐ ๋‹ค์Œ ์ง€์›์‚ฌ์—…์— ๊ฑธ๋งž๋Š” ์ •๊ตํ•œ ํ‰๊ฐ€๋ชจํ˜•์ด ํ•„์š”ํ•˜๋‹ค๋Š” ์ธ์‹์„ ๋ฐ”ํƒ•์œผ๋กœ ํ‰๊ฐ€๊ธฐ๋ฒ•๊ณผ ๊ด€๋ จ๋œ ๋‹ค์–‘ํ•œ ์ด๋ก ์  ๋…ผ์˜๋ฅผ ๊ฒ€ํ† ํ•˜์˜€๋‹ค. ํŠนํžˆ 2์žฅ์—์„œ ๋…ผ์˜ํ•œ ๋ฌธํ™”์˜ˆ์ˆ  ํšจ๊ณผ ๋ถ„์„ํ‹€์— ๋”ฐ๋ผ ์ •์‹  ๋ฐ ์‹ ์ฒด์  ํšจ๊ณผ๋Š” ์ˆ˜๋ช…๊ฐ€์น˜์ถ”์ •๋ฒ•, ์ธ์ง€์  ํšจ๊ณผ์™€ ๋Œ€์ธ๊ด€๊ณ„ ํšจ๊ณผ๋Š” ๊ด€๋žŒ์žํƒœ๋„์กฐ์‚ฌ, ๊ฒฝ์ œ์  ํšจ๊ณผ๋Š” ๊ฒฝ์ œ์  ์˜ํ–ฅ๋ถ„์„๋ฒ•, ์ž„์˜๊ฐ€์น˜์ธก์ •๋ฒ•, ์„ ํƒ๋ชจํ˜•๋ฒ•, ์—ฌํ–‰๋น„์šฉ์ธก์ •๋ฒ•, ๋ฌธํ™”์  ํšจ๊ณผ ๋ฐ ์‚ฌํšŒ์  ํšจ๊ณผ๋Š” ๊ธฐ์ˆ ๊ธฐ๋ฒ•์œผ๋กœ ์ธก์ •ํ•  ๊ฒƒ์„ ์ œ์•ˆํ•˜์˜€๋‹ค. ๊ฒฐ๋ก ์ ์œผ๋กœ ์ด ๋…ผ๋ฌธ์„ ํ†ตํ•ด ๋ฌธํ™”์˜ˆ์ˆ  ์ง€์›์‚ฌ์—…์˜ ์‹ฌ์˜๊ธฐ์ค€์„ ๊ณ ๋„ํ™”ํ•˜๊ณ  ํ‰๊ฐ€๊ธฐ๋ฒ•์„ ๋„์ž…ํ•˜์—ฌ ๋ฌธํ™”์˜ˆ์ˆ ์ด ๊ฐœ์ธ๊ณผ ์‚ฌํšŒ์— ๋ฏธ์น  ์ˆ˜ ์žˆ๋Š” ๊ฐ€์น˜์™€ ์˜ํ–ฅ์„ ๊ทน๋Œ€ํ™”ํ•˜๊ณ , ๊ณต๊ณต๊ธฐ๊ธˆ์˜ ๊ธฐ๋Šฅ๊ณผ ์—ญํ• ์„ ๋‹คํ•˜๋Š” ๋ฐ ๊ธฐ์—ฌํ•˜๊ณ ์ž ํ•˜์˜€๋‹ค.Demand for improving efficiency and promoting responsibility in the use of public funds is a global trend. The arts and culture field is not an exception. However, the problem is that the principle of public interest and pursuit of efficiency often conflict with the intrinsic value of arts and culture. Such a dilemma is clearly revealed in arts and culture support programs. Given the reality of Korea's arts and culture circle whose growth is heavily dependent on the government and public funds, the future direction of the government's support for the sector may have a significant potential impact on the landscape of the field. In this context, support projects that do not create values in arts and culture have a potential to cause harm not only to the field but also to the public in general, the ultimate beneficiaries of such projects. Korea's arts and culture circle had no experience in measuring the value and effects of arts and culture activities with its own consistent standards. Without proving their value and benefits, it is very difficult to deepen and expand discussions about them. Improving such support programs is not simply about upgrading the process of support projects, project structure, or the development of programs, but about understanding the spreading effect of the value and effects of arts and culture, as well as about establishing paradigms. The purpose of this study is to upgrade the effectiveness of arts and culture support projects by advancing review criteria to select those project which can create more value and effects and by adopting effective measurement techniques in the respect of the creation of more value and effects. Through such efforts, it intends to contribute to the maximization of the effectiveness of the Culture and Art Promotion Fund. This study dealt with the Culture and Art Promotion Fund supplementary project operated by the Arts Council Korea and analyzed whether the project is based on the structure through which the effects of arts and culture can be achieved in terms of the creation of value and effects. In the second chapter, this study examined previous researches on values, effects, and influences of arts and culture and suggested a framework that divides effects into two categories: individual effects including mental and health, cognitive and interpersonal ones and social effects including economic, cultural and social ones based on the framework of individual and community impacts by Josua Guetzkow. Then in the third chapter, to see the effect creation of arts and culture, the Culture and Art Promotion Fund supplementary project operated by the Arts Council Korea was analyzed in terms of its screening and evaluation standards. Comparing Korea's case with the National Endowments for the Arts (NEA) of the United States, and the Arts Council England (ACE) of the U.K., this study pointed out that Korea's case is insufficient in creating values and effects in culture and art, and the needs to be changed in the fourth chapter. Based on such findings, this study finally suggested a strategic performance management method for improving values and effects of arts and culture. It examined various theoretical discussions about evaluation and suggested that elaborate evaluative tools well-matched to the framework of individual and social effects discussed in chapter 1 are needed. It suggested Quality Adjusted Life Years(QALY) for mental and health effectsAudience Attitude Survey for cognitive and interpersonal effectsEconomic Impact Analysis(EIA), Cognitive Valuation Methods(CVM), Choice Modelling(CM) and Travel Cost(TC) for economic effectsand Narrative Methods for cultural and social effects. By doing so, I hope the study could contribute to maximizing value and effects of arts and culture to the individuals and the public thereby improving the efficiency and responsibility in the use of public funds for arts and culture in Korea.๊ตญ๋ฌธ์ดˆ๋ก ํ‘œ ๋ชฉ์ฐจ 1์žฅ ์„œ ๋ก  1 1์ ˆ ์—ฐ๊ตฌ๋ฐฐ๊ฒฝ๊ณผ ๋ชฉ์  1 2์ ˆ ์—ฐ๊ตฌ๋ฐฉ๋ฒ•๊ณผ ๋‚ด์šฉ 2 3์ ˆ ์—ฐ๊ตฌ์˜ ์ „์ œ ๋ฐ ํ•œ๊ณ„์  3 2์žฅ ๋ฌธํ™”์˜ˆ์ˆ  ๊ฐ€์น˜ ์—ฐ๊ตฌ 4 1์ ˆ ๋ฌธํ™”์˜ˆ์ˆ  ๊ฐ€์น˜ ์„ ํ–‰์—ฐ๊ตฌ 4 2์ ˆ ๋ฌธํ™”์˜ˆ์ˆ  ํšจ๊ณผ ๋ถ„์„ํ‹€ ์„ ํ–‰์—ฐ๊ตฌ 11 3์ ˆ ์˜ˆ์ˆ ์˜ ์˜ํ–ฅ ๋ถ„์„ํ‹€ ์ œ์‹œ ๋ฐ ํ™œ์šฉ 14 3์žฅ ๊ฐ€์น˜์˜ ๊ด€์ ์—์„œ ์ง€์›์‚ฌ์—… ๋ถ„์„ 16 1์ ˆ ๋ถ„์„๋Œ€์ƒ 17 2์ ˆ ์‹ฌ์˜๊ธฐ์ค€ 19 3์ ˆ ์‚ฌ์—…ํ‰๊ฐ€ 26 4์žฅ ์ง€์›์‚ฌ์—… ํ•ด์™ธ์‚ฌ๋ก€ ๋น„๊ต๋ถ„์„ 29 1์ ˆ ๋ถ„์„๋Œ€์ƒ 29 2์ ˆ ๋ฏธ๊ตญ์˜ˆ์ˆ ์ง„ํฅ๊ธฐ๊ธˆ(NEA)๋ถ„์„ 30 3์ ˆ ์˜๊ตญ์˜ˆ์ˆ ์œ„์›ํšŒ(ACE)๋ถ„์„ 36 5์žฅ ์ง€์›์‚ฌ์—… ๊ฐœ์„ ๋ฐฉ์•ˆ 47 1์ ˆ ์‹ฌ์˜๊ธฐ์ค€ 48 2์ ˆ ํ‰๊ฐ€๊ธฐ๋ฒ• 52 3์ ˆ ํ–ฅํ›„ ๊ณผ์ œ 62 ์ฐธ๊ณ ๋ฌธํ—Œ 64 Abstract 71Maste

    ๋„์žฌ์ˆ˜๋ฆฌ์šฉ ์ฝคํฌ์ง“ํŠธ๋ ˆ์ง„์˜ ์—ด์ˆœํ™˜์— ๋”ฐ๋ฅธ ์ƒ‰์ƒ ๋ฐ ๋ฐ˜ํˆฌ๋ช…๋„ ๋ณ€ํ™”

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    Thesis(doctor`s)--์„œ์šธ๋Œ€ํ•™๊ต ๋Œ€ํ•™์› :์น˜์˜ํ•™๊ณผ ์น˜๊ณผ์ƒ์ฒด์žฌ๋ฃŒ๊ณผํ•™์ „๊ณต,2006.Docto

    The enjoyment-method and education-direction of poetry at the digital era

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    This thesis discusses how we enjoy poetry at the digital era. And this thesis discusses the new direction of educating poetry at the digital era. When we enjoy poetry the method of enjoyment is changed : the advent of bulletin board poetry, the attempt to write various multimedia poetry, the experiment of cellphone letters poetry. Viewing from ~ education, this variations is very important. We have to utilize the new communication systems of poetry in order to educate poetry meaningfully. And we must draw up a plan for the poetry education of the digital era

    Development of an IRES trap using HCV replicon

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    Maste

    ๊ฒฝํ—˜์˜ ์žฌ๊ตฌ์„ฑ์œผ๋กœ์„œ์˜ ๊ธ€์“ฐ๊ธฐ์— ๊ด€ํ•œ ์—ฐ๊ตฌ: ๋ฐ•์ง€์›์˜ ใ€Ž์—ดํ•˜์ผ๊ธฐใ€๋ฅผ ์ค‘์‹ฌ์œผ๋กœ

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    ใ€Ž์—ดํ•˜์ผ๊ธฐใ€๋Š” 1780๋…„ ์ฒญ๋‚˜๋ผ ๊ฑด์œต ํ™ฉ์ œ์˜ ์น ์‹ญ ์ˆ˜(ๅฃฝ)๋ฅผ ์ถ•ํ•˜ํ•˜๊ธฐ ์œ„ํ•œ ์™ธ๊ต ์‚ฌ์ ˆ๋‹จ์—๏ผŒ ๊ทธ ์ผ์›์œผ๋กœ ์ฐธ๊ฐ€ํ–ˆ๋˜ ๋ฐ•์ง€์›์ด ์ž์‹ ์˜ ์ค‘๊ตญ ๊ฒฌ๋ฌธ์„ ๊ธฐ๋กํ•œ ๊ธ€์ด๋‹ค ใ€Ž์—ดํ•˜์ผ๊ธฐใ€์—๋Š” ใ€Œ๋„๊ฐ•๋กใ€์„ ์œ„์‹œํ•˜์—ฌ 26ํŽธ์˜ ๊ธ€์ด ์‹ค๋ ค ์žˆ๋Š”๋ฐ ใ€Œ๋„๊ฐ•๋กใ€์—์„œ๋ถ€ํ„ฐ ใ€Œํ™˜์—ฐ๋„์ค‘๋กใ€๊นŒ์ง€๋Š” ๊ธฐํ–‰์ผ๊ธฐ์˜ ํ˜•์‹์œผ๋กœ ์ด๋ฃจ์–ด์ ธ์žˆ๊ณ  ๊ทธ ๋’ท๋ถ€๋ถ„์€ ๋น„๊ต์  ์ž์œ ๋กœ์šด ํ˜•์‹์œผ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ๋‹ค. ใ€Ž์—ดํ•˜์ผ๊ธฐใ€์— ๋‚˜ํƒ€๋‚œ ๋ฐ•์ง€์›์˜ ๊ธ€์“ฐ๊ธฐ๋Š” ๋‹น๋Œ€ ๋‹ค๋ฅธ ๋ฌธ์ธ์˜ ๊ทธ๊ฒƒ๊ณผ๋Š” ๋‹ฌ๋ฆฌ ๋งค์šฐ ๋…ํŠนํ•œ ๊ฒƒ์œผ๋กœ ์ •ํ‰์ด ๋‚˜ ์žˆ๋‹ค. ์‰ฝ๊ฒŒ ์ง€๋‚˜์น  ์ˆ˜ ์žˆ๋Š” ์ผ์ƒ์ ์ธ ๊ฒฝํ—˜์œผ๋กœ๋ถ€ํ„ฐ ํ•ญ์ƒ ์ƒˆ๋กœ์šด ์‚ฌ๊ณ ๋ฅผ ์ด๋Œ์–ด๋‚ด๊ณ  ๋ฌธ์ œ์ œ๊ธฐ๋ฅผ ํ•˜๋ฉฐ๏ผŒ ๊ทธ ๋ฌธ์ œ์ œ๊ธฐ์˜ ํ•ด๊ฒฐ๊ณผ์ •์„ ์ƒˆ๋กœ์šด ๊ธ€์“ฐ๊ธฐ ๋ฐฉ์‹์œผ๋กœ ์ด๋ฃจ์–ด๋‚ด๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋”ฐ๋ผ์„œ ๋ฐ•์ง€์›์ด ์ผ๋˜ ใ€Ž์—ดํ•˜์ผ๊ธฐใ€๋Š” ๋Œ€๋ถ€๋ถ„์ด ์ค‘๊ตญ์—์„œ ๊ฒฝํ—˜ํ–ˆ๋˜ ์ผ์— ๋Œ€ํ•œ ๊ธฐ๋ก๋ฌผ์ด๋ฉด์„œ๋„ ๋‹จ์ˆœํ•œ ๊ธฐ๋ก๋ฌผ ๊ทธ ์ด์ƒ์„ ๋„˜์–ด์„ ๋‹ค

    Job stress and coping strategies of the operating room nurses stratified by career length groups

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    ์—ญํ•™๊ฑด๊ฐ•์ฆ์ง„ํ•™๊ณผ/์„์‚ฌ๋ณธ ์—ฐ๊ตฌ๋Š” ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ˆ˜์ˆ ์‹ค ๊ฐ„ํ˜ธ์‚ฌ์˜ ์ŠคํŠธ๋ ˆ์Šค ์ •๋„์™€ ๋Œ€์ฒ˜์œ ํ˜•๊ฐ„์˜ ๊ด€๊ณ„๋ฅผ ํŒŒ์•…ํ•˜๊ณ  ์ŠคํŠธ๋ ˆ์Šค์— ๋Œ€์ฒ˜ํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ํ™•์ธํ•จ์œผ๋กœ์จ, ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๊ฐ์†Œ์‹œํ‚ค๊ณ  ์ ์ ˆํžˆ ๋Œ€์ฒ˜ํ•  ์ˆ˜ ์žˆ๋Š” ๋ฐฉ์•ˆ์„ ๋ชจ์ƒ‰ํ•˜๋Š”๋ฐ ํ•„์š”ํ•œ ๊ธฐ๋ณธ ์ž๋ฃŒ๋ฅผ ๋งˆ๋ จํ•˜๊ณ ์ž ์‹œ๋„๋œ ๋‹จ๋ฉด ์กฐ์‚ฌ ์—ฐ๊ตฌ์ด๋‹ค. ๋ณธ ์—ฐ๊ตฌ์—์„œ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ์€ ํ™๋ณตํ™”(1996)๊ฐ€ ๋งŒ๋“  ๋„๊ตฌ๋ฅผ ์ด์€๊ฒฝ(1998)์ด ์ˆ˜์ •, ๋ณด์™„ํ•œ ๋„๊ตฌ(Cronbach''s ฮฑ=0.938)๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ์ธก์ •ํ•˜์˜€์œผ๋ฉฐ, 9๊ฐœ ํ•ญ๋ชฉ์œผ๋กœ ๊ตฌ๋ถ„ํ•˜์˜€๋‹ค. ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜๋ฐฉ์•ˆ ์ˆ˜์ค€์„ ์ธก์ •ํ•˜๊ธฐ ์œ„ํ•œ ๋„๊ตฌ๋Š” ํ•œ์ •์„, ์˜ค๊ฐ€์‹ค(1990)์˜ ๋„๊ตฌ๋ฅผ ์ด์€๊ฒฝ(1998)์ด ์ˆ˜์ •, ๋ณด์™„ํ•œ ๋„๊ตฌ(Cronbach''s ฮฑ=0.854)๋ฅผ ์‚ฌ์šฉํ•˜์˜€๋‹ค. ์—ฐ๊ตฌ ๋Œ€์ƒ์ž๋Š” ๊ฒฝ๊ธฐ๋„์— ์œ„์น˜ํ•œ 1๊ฐœ ์ข…ํ•ฉ๋ณ‘์›๊ณผ ์„œ์šธ์— ์œ„์น˜ํ•œ ๋Œ€ํ•™๋ณ‘์› 1๊ฐœ์™€ ์ข…ํ•ฉ๋ณ‘์› 1๊ฐœ์˜ ์ˆ˜์ˆ ์‹ค์— ๊ทผ๋ฌดํ•˜๋Š” ๊ฐ„ํ˜ธ์‚ฌ ์ค‘ ์ˆ˜๊ฐ„ํ˜ธ์‚ฌ๋ฅผ ์ œ์™ธํ•œ ์ผ๋ฐ˜ ๊ฐ„ํ˜ธ์‚ฌ 100๋ช…์„ ๋Œ€์ƒ์œผ๋กœ ํ•˜์˜€๋‹ค. ์ž๋ฃŒ์˜ ๋ถ„์„์€ SAS๋ฅผ ์ด์šฉํ•˜์˜€์œผ๋ฉฐ, ์‹ค์ˆ˜, ๋ฐฑ๋ถ„์œจ, ํ‰๊ท ๊ณผ ํ‘œ์ค€ ํŽธ์ฐจ t-test, ANOVA๋กœ ๋ถ„์„ํ•œ ํ›„ ์œ ์˜ํ•œ ์ฐจ์ด๊ฐ€ ์žˆ๋Š” ๋ณ€์ˆ˜๋Š” ์‚ฌํ›„๊ฒ€์ฆ ๋ฐฉ๋ฒ•์ธ Ducan''s Multiple Range (DMR) test๋ฅผ ํ•˜์˜€๊ณ  ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค์™€ ๋Œ€์ฒ˜๋ฐฉ์•ˆ๊ฐ„์˜ ๊ด€๊ณ„๋Š” Pearson''s Correlation Coefficient๋กœ ๋ถ„์„ํ•˜์˜€๋‹ค. ์—ฐ๊ตฌ์˜ ๊ฒฐ๊ณผ๋ฅผ ์š”์•ฝํ•˜๋ฉด ๋‹ค์Œ๊ณผ ๊ฐ™๋‹ค. 1. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์—ฐ๋ น์€ 25-29์„ธ 39%, ๊ฒฐํ˜ผ ์ƒํƒœ๋Š” ๋ฏธํ˜ผ์ด 68%, ๊ธฐํ˜ผ์ž์˜ ๊ฒฝ์šฐ ์ž๋…€๊ฐ€ ์žˆ๋Š” ๊ฒฝ์šฐ๊ฐ€ 71.9%, ์ข…๊ต๋Š” ๋ฌด๊ต์™€ ๊ธฐํƒ€๊ฐ€ 42%, ์ตœ์ข… ํ•™๋ ฅ์€ 4๋…„์ œ ๋Œ€ํ•™ ์กธ์ด 59%, 5๋…„ ์ด์ƒ์˜ ๊ฒฝ๋ ฅ์ด 54%, ์ผ๋ฐ˜ ๊ฐ„ํ˜ธ์‚ฌ๊ฐ€ 87%, ๋ณธ์ธ ํฌ๋ง์— ์˜ํ•ด ๊ทผ๋ฌดํ•˜๋Š” ๊ฒฝ์šฐ๊ฐ€ 71%, ์ฃผ๋กœ ์†Œ๋…, ๋ถ€ ์†Œ๋… ๊ฐ„ํ˜ธ์‚ฌ๋กœ ์ผํ•˜๋Š” ๊ฒฝ์šฐ๊ฐ€ 73%๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. 2. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค ํ‰๊ท ์€ 1์ ๋ถ€ํ„ฐ 5์ ๊นŒ์ง€ 5์  ์ฒ™๋„๋กœ ์ธก์ •ํ•˜์˜€์œผ๋ฉฐ, ๊ทธ ํ‰๊ท ์€ 3.58์ ์œผ๋กœ ๋ณดํ†ต์ด์ƒ์œผ๋กœ ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ์œผ๋ฉฐ, ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€์€ 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์€ 3.58์ , 5๋…„ ์ด์ƒ๊ตฐ์€ 3.57์ ์ด์˜€๋‹ค. 3. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€์€ 9๊ฐœ ๊ด€๋ จ ์š”์ธ ์ค‘ ์ „๋ฌธ์ง€์‹ ๋ฐ ๊ธฐ์ˆ ์ด ๋ถ€์กฑ ํ•  ๋•Œ, ์˜์‚ฌ์™€์˜ ๊ฐˆ๋“ฑ, ๊ทผ๋ฌดํ‘œ์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญ, ๊ฐ„ํ˜ธ ์—…๋ฌด์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญ ์ˆœ์œผ๋กœ ๋†’์€ ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ํ˜ธ์†Œํ•˜์˜€๋‹ค. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€์€ 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์—์„œ ์ „๋ฌธ์ง€์‹ ๋ฐ ๊ธฐ์ˆ ์ด ๋ถ€์กฑํ•  ๋•Œ, ์˜์‚ฌ์™€์˜ ๊ฐˆ๋“ฑ, ๊ทผ๋ฌดํ‘œ์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญ ์ˆœ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ์œผ๋ฉฐ, 5๋…„ ์ด์ƒ ๊ตฐ์—์„œ๋Š” ์ „๋ฌธ์ง€์‹ ๋ฐ ๊ธฐ์ˆ ์ด ๋ถ€์กฑํ•  ๋•Œ, ๊ทผ๋ฌดํ‘œ์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญ, ์˜์‚ฌ์™€์˜ ๊ฐˆ๋“ฑ ์ˆœ์œผ๋กœ ๋†’์€ ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ํ˜ธ์†Œํ•˜์˜€๋‹ค. 4. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ์ฐจ์ด๋ฅผ ๊ฒ€์ฆํ•œ ๊ฒฐ๊ณผ ์ด ์ŠคํŠธ๋ ˆ์Šค ํ‰๊ท  ์ ์ˆ˜์—์„œ๋Š” ๊ทธ๋ฃน ๊ฐ„ ์ฐจ์ด๊ฐ€ ์—†๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค(F=.089, p=.814). ๊ทธ๋Ÿฌ๋‚˜ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ์— ์žˆ์–ด์„œ๋Š” ์ฐจ์ด๊ฐ€ ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚œ ํ•ญ๋ชฉ์€ ๊ฐ„ํ˜ธ์‚ฌ์— ๋Œ€ํ•œ ๋Œ€์šฐ ํ•ญ๋ชฉ(F=-.096, p=.006)์ด์˜€๋‹ค. ๊ฐ„ํ˜ธ์‚ฌ์— ๋Œ€ํ•œ ๋Œ€์šฐ๋Š” 5๋…„ ์ด์ƒ ๊ตฐ์—์„œ ์—…๋ฌด ์ŠคํŠธ๋ ˆ์Šค๊ฐ€ ๋†’์•˜๋‹ค. 5. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ผ๋ฐ˜์  ํŠน์„ฑ๊ณผ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€๊ณผ์˜ ๊ด€๊ณ„์—์„œ ์—ฐ๋ น(F=2.753, p=.032)์—์„œ๋งŒ ํ†ต๊ณ„์ ์œผ๋กœ ์œ ์˜ํ•œ ์ฐจ์ด๊ฐ€ ์žˆ์—ˆ๋‹ค. 6. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜์ˆ˜์ค€์€ ํ‰๊ท  1์ ๋ถ€ํ„ฐ 5์ ๊นŒ์ง€ 5์  ์ฒ™๋„๋กœ ์ธก์ •ํ•˜์˜€์œผ๋ฉฐ, ํ‰๊ท ์€ 3.16์ ์œผ๋กœ ๋ณดํ†ต ์ •๋„์˜€์œผ๋ฉฐ ์ŠคํŠธ๋ ˆ์Šค ์ •๋„์— ๋น„ํ•ด ๋‹ค์†Œ ๋‚ฎ๊ฒŒ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ๋Œ€์ฒ˜์ˆ˜์ค€์€ 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์€ 3.15์ , 5๋…„ ์ด์ƒ ๊ตฐ์€ 3.17์ ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. 7. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜๋ฐฉ์•ˆ 6๊ฐœ ์ค‘ ๋ฌธ์ œ ์ค‘์‹ฌ์ , ๊ธ์ •์  ๊ด€์ , ์‚ฌํšŒ์ง€์ง€ ํƒ์ƒ‰ ์ˆœ์œผ๋กœ ๋Œ€์ฒ˜๋ฐฉ์•ˆ ์ˆ˜์ค€์ด ๋†’๊ฒŒ ๋‚˜ํƒ€๋‚ฌ๊ณ , ๋ฌด๊ด€์‹ฌ์ด ๊ฐ€์žฅ ๋‚ฎ์•˜๋‹ค. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜๋ฐฉ์•ˆ์€ 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์—์„œ ๋ฌธ์ œ ์ค‘์‹ฌ์ , ๊ธ์ •์  ๊ด€์ , ์‚ฌํšŒ์ง€์ง€ ํƒ์ƒ‰ ์ˆœ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ์œผ๋ฉฐ, 5๋…„ ์ด์ƒ ๊ตฐ๋„ 5๋…„ ๋ฏธ๋งŒ ๊ตฐ๊ณผ ๋™์ผํ•œ ์ˆœ์œผ๋กœ ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜ ๋ฐฉ์•ˆ์„ ์‚ฌ์šฉํ•˜์˜€๋‹ค. 8. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ๋Œ€์ฒ˜์ˆ˜์ค€์˜ ์ฐจ์ด๋ฅผ ๊ฒ€์ฆํ•œ ๊ฒฐ๊ณผ๋Š” ์ด ๋Œ€์ฒ˜๋ฐฉ์•ˆ ํ‰๊ท  ์ ์ˆ˜์— ์žˆ์–ด์„œ๋Š” ๊ทธ๋ฃน ๊ฐ„ ์ฐจ์ด๋ฅผ ๋ณด์ด์ง€ ์•Š์•˜์œผ๋ฉฐ(F=-.283, p=.617) ๋Œ€์ฒ˜๋ฐฉ์•ˆ์— ์žˆ์–ด์„œ๋„ ๊ทธ๋ฃน ๊ฐ„ ์ฐจ์ด๋ฅผ ๋ณด์ด์ง€ ์•Š์•˜๋‹ค. 9. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ผ๋ฐ˜์  ํŠน์„ฑ๊ณผ ์ŠคํŠธ๋ ˆ์Šค ๋Œ€์ฒ˜์ˆ˜์ค€๊ณผ์˜ ๊ด€๊ณ„์—์„œ๋Š” ํ†ต๊ณ„์ ์œผ๋กœ ์œ ์˜ํ•œ ์ฐจ์ด๊ฐ€ ์—†์—ˆ๋‹ค. 10. ์ „์ฒด ๋Œ€์ƒ์ž์˜ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€๊ณผ ๋Œ€์ฒ˜์ˆ˜์ค€๊ณผ์˜ ์ƒ๊ด€๊ด€๊ณ„๋Š” ์œ ์˜ํ•œ ์–‘์˜ ์ƒ๊ด€๊ด€๊ณ„(r=.403, p<.000)๋ฅผ ๋ณด์—ฌ ์ŠคํŠธ๋ ˆ์Šค๊ฐ€ ๋†’์„์ˆ˜๋ก ๋Œ€์ฒ˜๋ฐฉ์•ˆ์„ ๋” ๋งŽ์ด ํ™œ์šฉํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. 11. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€๊ณผ ๋Œ€์ฒ˜์ˆ˜์ค€๊ณผ์˜ ์ƒ๊ด€๊ด€๊ณ„๋Š” 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์€ ์ƒ๊ด€๊ด€๊ณ„๊ฐ€ ์—†๋Š” ๊ฒƒ(r=.000, p<.000)์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ์œผ๋ฉฐ, 5๋…„ ์ด์ƒ ๊ตฐ์—์„œ๋„ ๊ฑฐ์˜ ์ƒ๊ด€๊ด€๊ณ„๊ฐ€ ์—†๋Š” ๊ฒƒ(r=.057, p<.000)์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ๊ณผ ๋Œ€์ฒ˜๋ฐฉ์•ˆ๊ณผ์˜ ์ƒ๊ด€๊ด€๊ณ„๋Š” 5๋…„ ๋ฏธ ๋งŒ๊ตฐ์˜ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ๊ณผ ๋Œ€์ฒ˜๋ฐฉ์•ˆ์€ ์œ ์˜ํ•œ ์ƒ๊ด€๊ด€๊ณ„๊ฐ€ ์—†๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ์œผ๋ฉฐ 5๋…„ ์ด์ƒ๊ตฐ์˜ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ๊ณผ ๋Œ€์ฒ˜๋ฐฉ์•ˆ์˜ ์ƒ๊ด€๊ด€๊ณ„๋Š” โ€˜์ „๋ฌธ์ง์œผ๋กœ์„œ์˜ ์—ญํ•  ๊ฐˆ๋“ฑโ€™ ๊ด€๋ จ ์š”์ธ๊ณผ โ€˜๋ฌด๊ด€์‹ฌโ€™(r=.272) ๋Œ€์ฒ˜ ๋ฐฉ์•ˆ์œผ๋กœ ์•ฝํ•œ ์–‘์  ์ƒ๊ด€๊ด€๊ณ„๊ฐ€ ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. ์ด์ƒ์˜ ๊ฒฐ๊ณผ๋ฅผ ์ข…ํ•ฉํ•ด ๋ณผ ๋•Œ ์ „์ฒด ์ŠคํŠธ๋ ˆ์Šค ์ˆ˜์ค€๊ณผ ๋Œ€์ฒ˜์ˆ˜์ค€์€ ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ฐจ์ด๊ฐ€ ์—†์—ˆ์ง€๋งŒ ์—…๋ฌด ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ์—๋Š” ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ์ฐจ์ด๊ฐ€ ์žˆ๋Š” ๊ฒƒ์œผ๋กœ ๋‚˜ํƒ€๋‚ฌ๋‹ค. 5๋…„ ๋ฏธ๋งŒ ๊ตฐ์€ โ€˜์ „๋ฌธ์ง€์‹๊ณผ ๊ธฐ์ˆ  ๋ถ€์กฑโ€™, โ€˜์˜์‚ฌ์™€์˜ ๊ฐˆ๋“ฑโ€™, โ€˜์˜๋ฃŒํ•œ๊ณ„์˜ ์‹ฌ๋ฆฌ์  ๋ถ€๋‹ด๊ฐโ€™, 5๋…„ ์ด์ƒ ๊ตฐ์€ โ€˜์ „๋ฌธ์ง€์‹๊ณผ ๊ธฐ์ˆ  ๋ถ€์กฑโ€™, โ€˜๊ทผ๋ฌดํ‘œ์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญโ€™, โ€˜๊ฐ„ํ˜ธ ์—…๋ฌด์™€ ๊ด€๋ จ๋œ ์‚ฌํ•ญโ€™์—์„œ ๋” ๋†’์€ ์—…๋ฌด ์ŠคํŠธ๋ ˆ์Šค๋ฅผ ๊ฒฝํ—˜ํ•˜๊ณ  ์žˆ์Œ์„ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ์ด๋Š” ๊ฒฝ๋ ฅ์— ๋”ฐ๋ฅธ ๊ฐ„ํ˜ธ์‚ฌ์˜ ์—…๋ฌด ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ จ ์š”์ธ์— ์ฐจ์ด๊ฐ€ ์žˆ์œผ๋ฏ€๋กœ ๊ฒฝ๋ ฅ์— ๋”ฐ๋ผ ๊ฐ„ํ˜ธ์‚ฌ์˜ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ฆฌ ๋ฐ ์ค‘์žฌ ์ ์šฉ์„ ๋‹ฌ๋ฆฌํ•ด์•ผ ํ•จ์„ ์‹œ์‚ฌํ•ด ์ฃผ๊ณ  ์žˆ๋‹ค. ๋”ฐ๋ผ์„œ 5๋…„ ๋ฏธ๋งŒ์˜ ๊ฐ„ํ˜ธ์‚ฌ๋“ค์—๊ฒŒ๋Š” ๊ฐ„ํ˜ธ์ง€์‹์ด๋‚˜ ๊ธฐ์ˆ ์— ๋Œ€ํ•œ ์ฒด๊ณ„์ ์ธ ๊ต์œกํ”„๋กœ๊ทธ๋žจ์˜ ๊ฐœ๋ฐœ, ๊ด€๋ จ ๋ถ„์•ผ์— ๋Œ€ํ•œ ๊นŠ์ด ์žˆ๋Š” ์ง€์‹๊ต์œก, ๋‹ค์–‘ํ•œ ๊ต์œก ๋ฐ ํ–‰์‚ฌ์ฐธ์—ฌ์˜ ๊ธฐํšŒ ์ œ๊ณ  ๋“ฑ์˜ ๋…ธ๋ ฅ์ด ํ•„์š”ํ•  ๊ฒƒ์ด๋‹ค. 5๋…„ ์ด์ƒ์˜ ๊ฐ„ํ˜ธ์‚ฌ๋“ค์—๊ฒŒ๋Š” ์—…๋ฌด ์ŠคํŠธ๋ ˆ์Šค๋กœ ์ธํ•œ ์ •์‹ ์ , ์‹ ์ฒด์  ์†Œ์ง„์„ ๊ด€๋ฆฌํ•˜๊ธฐ ์œ„ํ•ด ํœด๊ฐ€ ๋ฐ ์Šค์ผ€์ค„ ๊ด€๋ฆฌ์— ์žˆ์–ด์„œ์˜ ๋ฐฐ๋ ค์™€ ์œ ๋Šฅํ•œ ์—…๋ฌด ์ˆ˜ํ–‰ ๋Šฅ๋ ฅ์„ ๋”์šฑ ์ด‰์ง„ํ•˜๊ณ  ์žฅ๋ คํ•˜๊ธฐ ์œ„ํ•ด ์ฒด๊ณ„์ ์ธ ์ŠคํŠธ๋ ˆ์Šค ๊ด€๋ฆฌ ๋ณด์ˆ˜๊ต์œก ํ”„๋กœ๊ทธ๋žจ์˜ ๊ฐœ๋ฐœ ๋ฐ ์‹œํ–‰ ๋“ฑ์ด ํ•„์š”ํ•˜๊ฒ ๋‹ค.restrictio
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