This study was conducted to in-depth understand and describe the thoughts and experiences of nursing students in the practice of the intensive care unit. Data was collected through focus group interviews with 14 nursing students who voluntarily participated in the study targeting students who practiced the intensive care unit and analyzed by the content analysis. As a result of the study, two themes, 'ethical challenges faced in intensive care unit practice' and 'incomplete reflection, were derived. The categories included in the former were 'feeling wrong in the appearance of a nurse', 'thinking about a good nurse', 'thinking about the cause of the wrong practice', and the categories included in the latter were ''fear of being assimilated', and 'pledge oneself by put yourself in someone else's shoes’. Based on these results, it is necessary to develop ethics education to become a nurse who can form correct ethical comfortment, including ethics education in clinical practice instruction as well as classroom instruction.

The development of alternative water resources has emerged as an effective method for solving drought of water resources due to extreme weather and increase in water consumption. Recently, in Korea, there has been active research on reverse osmosis desalination technology, wastewater reuse using forward osmosis membranes, and the forward osmosis(FO)-reverse osmosis(RO) hybrid process combining these two technologies. In this study, the basic performance of FO membranes manufactured by three domestic and international manufactures such as Microfilter Co., Ltd., Toray Chemical Korea Inc., and Hydration Technologies Inc., were investigated for wastewater reuse. In addition, as an experiment to select feed solution, the selected membranes were operated 48 consecutive hours using three secondary effluents pretreated by the UF membrane with a pore size of 0.1 μm and auto strainer with pore sizes of 1 μm and 100 μm as feed solution. Although there was not much difference in the operating performance. Thus, the treated water using the 100 μm auto strainer was selected as feed solution applied to the assessment.

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5ㆍ16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8ㆍ15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists’ generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. ‘Flatness’ ‘physicality of material’ ‘action’ ‘post-image’ ‘post-subjectivity’ and ‘oriental spirituality’ were the critical terms in mentioning the monochrome paintings of the 1970s. ‘Korean beauty’ was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art’s sake, cutting of communication with the masses, and elitism, came to be authorized.

본 연구는 생태공간과 생태공간으로부터의 거리에 따른 포름알데히드와 분진의 제거효과를 알아보기 위해 지하역사내로 자연광이 유입되는 천창이 설치된 지하철 흑석역에 조성된 생태공간을 바탕으로 수행하였다.그 결과, 1일 동안 생태공간, 생태공간으로부터 각각 10m, 20m떨어진 지점의 포름알데히드 농도는 약 20.7ppb, 21.2ppb, 26.8ppb로 생태공간과 생태공간에서 20m떨어진 지점을 비교하였을 때 생태공간이 공기를 정화하는 경향이 있는 것으로 보인다. 생태공간, 생태공간으로부터 10m, 20m떨어진 지점의 1일 분진 농도 역시 각각 약 18.0㎍/㎥, 19.2㎍/㎥, 67.4㎍/㎥로 생태공간과 생태공간에서 20m떨어진 지점을 비교하였을 때 생태공간의 공기정화효과를 알 수 있었다. 온도와 습도는 세 공간 모두 큰 변화가 없었는데 이는 지하역사내에 가동되고 있는 냉방 및 환기시설에 의한 것으로 보인다. 그러나 자연광의 유입으로 광합성과 증산작용이 활발하게 이루어지는 약 11시 30분부터 5시 30분까지는 생태공간의 습도가 약 3-4% 높게 나타났다. 또한 생태공간의 포름알데히드의 1일 변화량을 조사한 결과 이시간대에 포름알데히드 농도가 가장 낮게 나타났다. 따라서 지하공간에 조성된 생태공간은 포름알데히드, 분진을 감소시키고 습도를 증가시켜 실내공기를 쾌적하게 하는 것으로 보인다.또한 지하철 역사 간의 비교는 실공간에서 측정하므로 많은 변수들이 있기 때문에 비교가 불가능할 것으로 보이며, 앞으로 지하철 역사 내 생태공간의 공기정화효과를 입증하기 위해서는 지하철역사 간의 비교보다는 역사내에서 측정간격을 연장하거나 생태공간 유무에 따른 지상과 지하 등 측정장소를 달리하는 것이 필요하다고 판단된다. 따라서 지하철역사내 생태공간 조성은 포름알데히드, 분진 제거 등 공기정화와 미적․심리적인 효과를 동시에 창출하므로 앞으로 지하철 역사 및 지하공간내에 생태공간 조성이 확대되어야 할 것이다.