Purpose: This qualitative research was conducted to explore the experiences of social workers encountering peer conflicts among abused boys living in child counseling protection center (center) and psychosocially intervening to resolve peer conflicts. Methods: The participants were four social workers who were caring for twenty abused boys at the center. Data were collected through participatory observation, in-depth interview, and field data. The collected data were analyzed by emic coding. Results: First, the experiences of social workers encountering peer conflict phenomena among abused boys were ‘psychological distortion from abuse trauma’, ‘manifestation of impulse or aggression to trivial stimuli’, and ‘lack of mutual respect among peers’. Second, the experiences of social workers intervening in resolving peer conflicts among abused boys were ‘stabilize offended feeling’, ‘maintain stability through verbal and non-verbal interventions’, ‘apply positive techniques to improve peer relations’, and ‘help abused children overcome trauma and grow’. Conclusion: Social workers confirmed that the role of social welfare experts was important to secure understanding and insight into peer conflicts between abused children and to convert the pain of abused children into positive energy. The results of this study will help social welfare professionals develop a family-centered abuse trauma recovery program for abused children.

본 연구는 만성 조현병 입원환자를 대상으로 심리사회적 개입인 사회기술훈련과 예술 치료를 적용하여 그 효과성을 비교 분석하고자 하였다. 본 연구 대상은 DSM-5 진단기준 에 의거 조현병으로 진단 받고 S정신건강의학과 전문병원에 입원중인 만성 조현병 환자 93명 중 선정 기준에 부합하는 36명을 선별하여 실험, 비교, 대조집단 각 12명씩 무선 할당하였다. 실험집단은 주 2회 50분씩 총 16회기의 예술치료를 시행하였고, 비교집단은 주 2회 50분씩 총 16회기의 사회기술훈련을 실시하였으며, 대조집단은 무처치하였다. 평 가 도구로는 자기주장 행동 척도(AOES), 임파워먼트 척도(ES), 사회 적응기능 척도 (SAFS), 입원환자 간호 관찰 척도(NOSIE-30)를 사용하였다. 통계처리는 각 변인 간의 상 관분석(Correlation analysis), 일원변량분석(One-way ANOVA), 혼합변량분석(Mixed ANOVA)을 실시하였다. 본 연구의 결과는 다음과 같다. 예술치료는 실험집단이 비교, 대 조집단에 비해 자기주장 행동, 사회 적응기능과 임파워먼트를 유의하게 증가시켰다. 이 는 향후 만성 조현병 입원환자의 정신재활 프로그램으로써 유용한 개입방법이 될 수 있 음을 시사한다.

This thesis started from the attempt to make it clear that 80’s American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring’s creative way at the field has more value than just being grasped as artist’s personal characteristics. Haring’s work pieces became everyday art by joining with people’s life, and are working as a social speaking place. So I think that these Haring’s art works possess characteristics of ‘the public sphere.’ ‘The Public Sphere’ means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without ‘disguise’ or ‘fabrication’, and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring’s work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring’s works and process. Haring’s works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he’s been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring’s works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring’s works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.