著者
Uchida Yoko
出版者
北関東医学会
雑誌
北関東医学 (ISSN:13432826)
巻号頁・発行日
vol.62, no.1, pp.23-29, 2012

Objectiye: To validate the Outcome and Assessment Scale for Dementia Care (OASDC) by comparisonwith the Multidimensional Observation Scale for Elderly Subjects (MOSES). Methods: The targetswere 126 Jap anese nurses, together with 126 of their demented patients. The self- administered question-naire asked the nurses about the condition of their patients. The questionnaire consisted of 20 OASDCitems, including the base attributes of the nurses and their patients, and 40 MOSES items. OASDC wassubjected to a factor analysis and the correlations between OASDC and MOSES were explored.Results: The factor analysis revealed that OASDC had 5 factors : Self-care; Tranquility; Social role;Behavioral and Psychological Symptoms of Dementia (BPSD),; and Caregiver and the cumulativecontribution ratio of all five factors was 63.196. There was a significant correlation between OASDCand MOSES except for the items of care factors (r=O.201 to O.926, p<O.05). Conclusion : The evalua-tion almost completely secured the validity of the construct validity and contemporary validity of theOASDC.
著者
下平 きみ子 伊藤 まゆみ
出版者
北関東医学会
雑誌
北関東医学 (ISSN:13432826)
巻号頁・発行日
vol.62, no.1, pp.31-40, 2012
被引用文献数
2

<B>【目 的】</B> 一般病院で身体的治療を受ける認知症高齢者のケアを担う看護師への教育研修実施のための教育ニーズの把握と教育プログラム内容の抽出をする. <B>【対象と方法】</B> 急性期治療を行う2病院の整形外科病棟の看護師, 各6名に, フォーカス・グループインタビューを行い, 逐語録からデータを質的帰納的に分析した. <B>【結 果】</B> 「認知症高齢者のケアの困難」から8カテゴリ,「認知症高齢者のケアで心がけていること」から5カテゴリ,「教育研修について希望すること」から4カテゴリが抽出された. <B>【結 語】</B> 教育ニーズとしては, (1)認知症高齢者の状態の理解, (2)BPSD・危険行動の理解, (3)せん妄の理解, (4)認知症高齢者の世界の理解, (5)急性期病棟での具体的事例を用いて認知症高齢者のケア方法の理解, 教育プログラム内容は, (1)認知症の疾患・治療, (2)認知症高齢者の理解とアセスメントツール, (3)BPSD・危険行動の行動分析と介入の実際, (4)せん妄とその対応, (5)認知症患者の言動の意味, (6)認知症高齢者との関わり方, (7)認知症患者とのコミュニケーション, (8)急性期病棟での事例を通した看護過程の展開, が抽出された.
著者
丸尾 智実 河野 あゆみ
出版者
一般社団法人 日本プライマリ・ケア連合学会
雑誌
日本プライマリ・ケア連合学会誌 (ISSN:21852928)
巻号頁・発行日
vol.37, no.2, pp.104-111, 2014
被引用文献数
4

<b>目的</b> : 家族介護者への認知症の症状に対応する自己効力感向上プログラム (SE向上PGM) を実施しその効果を評価した.<br><b>方法</b> : 対象者はA県下の居宅介護事業所の利用者の家族であり, 介入群 (IG) 32名, 対照群 (CG) 25名の計57名である. 認知症に関する情報提供, 介護者交流, リラクセーション体験を共通PGMとして両群に, 加えてSE向上PGMをIGに実施した. 評価は介入前, 介入直後, 介入2か月後の質問紙調査とし, 一次アウトカムを介護自己効力感, 二次アウトカムをBPSDの出現の有無と負担感, 介護負担感, 抑うつ, 認知症の知識量とした.<br><b>結果</b> : 認知症の症状に対応するSEの得点がIGはCGに比べて介入前から介入2か月後の間に有意に向上した. また, 年齢, 性別, 利用者の日常生活自立度判定を共変量とした共分散分析では, IGはCGに比べて認知症の症状に対応するSEが有意に向上した.<br><b>結論</b> : SE向上PGMが認知症の症状に対応するSEを向上させる可能性が示唆された.
著者
千田 睦美 水野 敏子
出版者
岩手県立大学
雑誌
岩手県立大学看護学部紀要 (ISSN:13449745)
巻号頁・発行日
vol.16, pp.11-17, 2014-03

目的:本研究の目的は,認知症高齢者の看護を実践する場面における困難について明らかにすることである.方法:認知症高齢者の看護を行っている看護師26 名に半構成的面接を行い,得られたデータを質的帰納的に分析した.結果:認知症高齢者を看護する看護師の困難は,29 のサブカテゴリーから,【認知症の症状への対応】【認知・コミュニケーション障害】【患者の自律性と看護の両立】【患者同士の関係性】【患者の症状・状態の理解】【看護方針と看護の継続】の6 カテゴリーとして表された.特に,BPSD に関連した困難の内容が目立った.結論:認知症の症状に関連する困難,患者と看護師のかかわりに関連する困難,認知症患者への看護に関連する困難という,認知症看護に特有の困難が抽出された.今後は早急に認知症の理解と看護方法の模索,看護態勢の充実など,困難を乗り越える取り組みを検討する必要性が示唆された.
著者
菊池 静香
出版者
同志社大学
雑誌
同志社政策科学研究 (ISSN:18808336)
巻号頁・発行日
vol.8, no.1, pp.45-60, 2006-07

論説(Article)本稿は、学位論文「明治以降における河川にかかわる地域組織の成立と変遷に関する研究」のうち、明治期から現在までの河川にかかわるNPO活動の変遷を把握するため、基礎調査としてとりまとめた一つの章について、一部加筆したものである。一般に、NPOについては様々な分野において研究がなされている。しかし、河川にかかわるNPO活動については既往研究が限られており、明治期から現在までの組織活動を通史的に論じたものはほとんど見られない現状にある。そこで、河川をフィールドに公益活動を行なう市民活動や住民活動について、時代を象徴するような組織活動や全国的に影響を与えた運動などを整理し、時系列的な類型化を試みた。はじめに研究の目的、既往研究、考察の対象などについて述べる。次に、河川にかかわる環境運動について、運動内容により(1)河川改修促進運動、(2)反対運動、(3)自然環境保全運動の3つに大別し、それぞれ時代を象徴するようなNPO活動や全国的に影響を与えた運動などについて、その概要を整理する。そして、社会や河川施策に果たした意味を把握した上で、明治期から昭和初期、第二次世界大戦後から昭和40年代、昭和50年代から現在について類型化を行い、その特徴を明らかにした。
著者
竹内 敬人
出版者
社団法人日本化学会
雑誌
化学と教育 (ISSN:03862151)
巻号頁・発行日
vol.40, no.5, 1992-05-20
著者
中島 昭勝 東福 要平
出版者
The Japanese Society for Dialysis Therapy
雑誌
日本透析医学会雑誌 (ISSN:13403451)
巻号頁・発行日
vol.27, no.12, pp.1475-1481, 1994

血液透析患者において, 致死的不整脈をきたしうる心電図QTcの延長について検討した. 対象および方法: 対象は, 維持血液透析患者のうち, 3か月以上症状が安定している維持透析群32名 (男24名, 女8名) で, 血液透析前後で, 心電図QTc, 血液ガス分析, 血清電解質, 血中イオン化カルシウム (Ca<sup>++</sup>), 血中HANP, 体重, 血圧などを測定し, またこれらの患者と年齢, 男女比をマッチさせた正常対照群32名 (検診受診者) について心電図QTcを測定した. 結果: 透析前で維持透析群のQTcは, 0.439±0.025secと正常対照群の0.396±0.021secと比較し, 有意に延長していた (p<0.01). 維持透析群の中で0.438sec (正常対照群の平均値+2標準偏差) 以上のものが15名 (46.9%) であり, これをA群, 0.438sec未満のものをB群として, 両群を比較すると, 血清Caは, A群で8.8±1.0mg/d<i>l</i>, B群で9.8±1.2mg/d<i>l</i>と有意差が認められ (p<0.05), 他の血清電解質, 血中Ca<sup>++</sup>, 血液ガス分析, 血中HANPには, 両群間で有意差は認められなかった. QTcの透析前後の変化量 (<i>Δ</i>QTc) は, 血清Ca, 血中Ca<sup>++</sup>, HCO<sub>3</sub><sup>-</sup>の各変化量と相関したが, その他のデータとは相関しなかった. 透析後, A群において血清Caは平均9.6mg/d<i>l</i>まで上昇したが, QTcは平均0.450secと延長したままで, 短縮傾向は認められなかった. 結論: 慢性透析患者では, 透析前すでにQTcは延長を示す例が約半数を占め, 1回の血液透析で血清Caが正常化しても, QTcの延長の改善は認められなかった. そのQTcの延長については, 血清Ca以外に血液透析に伴う種々の原因による心筋自体の障害, 自律神経系の異常などについても検討する必要があると考えられた.
著者
山田 昇
出版者
奈良女子大学
雑誌
學習研究 (ISSN:09116117)
巻号頁・発行日
vol.290, pp.65-69, 1984-08-15
著者
秋本 倫子
出版者
東洋英和女学院大学
雑誌
人文・社会科学論集 (ISSN:09157794)
巻号頁・発行日
no.30, pp.59-82, 2012

A worldwide best seller Yoru to Kiri (the original German title : EIN PSYCHOLOGE ERLEBT DAS KONZENTRATIONSLAGER, the Enlish title: Man's Search for Meaning) was written by a Jewish psychiatrist Viktor E. Frankl. It was first translated into Japanese by Tokuji Shimoyama, a clinical psychologist and a professor emeritus at Sophia University (an ex-professor of Toyo Eiwa University). Since its publication, it has been read by many people over generations. The book has tremendous power toinspire and to encourage. After he was released from the Nazi concentration camps, he continued to work as a psychiatrist, taught at universities, gave lectures around the world, and lived to be 92. He is a miraculous psychiatrist and a psychologist of a kind that cannot be found anywhere.The aim of this paper was to re-read Yoru to Kiri and examine both from the perspective of modern trauma psychology (1) what kind of psychological reactions, defense mechanisms or coping behaviors Frankl resorted to while he was imprisoned in the Nazi concentration camps, (2) how he overcame the trauma and adapted to his life after the war, and by referencing some literature on his life and on Holocaust survivors' psychology, (3) what kind of defense mechanisms or coping behaviors were effective in surviving extreme situations.Results:(1) It was found that Frankl showed at least some traumatic symptoms: extreme fear, denial or undoing, dissociation, repetitive and intrusive reactions (nightmares and obsession) , paralyzed or limited emotions, reduced interests, irritability and anger. The nightmares persisted till his ninties. (2) Frankl was not only using the coping behaviors as the Holocaust survivors in the literature, but he 82 was also rich in resources: intelligence, being a psychiatrist, warm and loving family elationships, and Jewish faith. More than anything, he supported himself by his firm convi ction that the life is worthwhile living no matter how harsh it may be.Conclusion: Frankl may have been a gifted person in many ways. But more than anything, he was willing, instead of giving in to the "fate", he was willing to take responsibility to find the right answers and fulfill the tasks given to him. He lived with this belief all his life and has been other people's lives meaningful.
著者
多木 陽介
出版者
桃山学院大学
雑誌
桃山学院大学総合研究所紀要 (ISSN:1346048X)
巻号頁・発行日
vol.41, no.3, pp.23-45, 2016-03-15

Eenen, En-nen (延年) is a project that was started in 2006 by Tadashi Ogasawara, a Kyogen actor of the Izumi School, with the ambition to rediscover the primitive form of Kyogen and retrieve its original vigor. I have been involved in this project as stage director and researcher since 2009 together with Angelo Crotti, an Italian actor specializing in the role of Arlecchino in Commedia dell'Arte. For three years (April 2012 - March 2015) we were fortunate to receive academic and financial support from Osaka's Momoyama Gakuin University in the joint research program titled `The Establishment and Development of Masked Comedy in Japan and in Italy during the Medieval and Early Modern Period and its Contemporary Practice'. In this paper I examine what we have done and present an analysis of our experiments. Kyogen is a Japanese traditional comic theater which has undergone refinement and stylization throughout its long history. As a consequence, Kyogen today seeks only virtuosity in performance, leaving the social significance of the themes obscured or distorted, so that it is often difficult to understand the original meaning of the plots and the action. For example, in the famous and popular piece <<Ka-zumo>>(sumo with mosquito), the role of the mosquito should be interpreted as a metaphor for a poor hungry peasant, not an insect itself. Rereading <<Ka-zumo>>in this way, one will notice that this was bitter satire, not the fantasy-like comedy that we see today on the Kyogen stage. Originally, Kyogen was a form of satiric comedy with a real social function, but as a cost of the protection given by the ruling bushi class since the 17th century, it lost its vital link with society and was subjected to a kind of emasculation. Its stylization was nothing but the result of control by the authorities. It was also a general tendency in early modern Europe to `civilize' madness (the chaotic energy of comic plays, carnivalesque fetes, fools and so on). And this was very similar to what happened to Kyogen. Our objective is to deconstruct the stylized form of Kyogen and restore its original creativity and critical function in a contemporary society. For this purpose we took the approach of tracing back its genetic process in history. If we compare human activities as a whole to a big tree, each specialized field (not only technological or industrial fields, but also many traditional arts) corresponds to one branch at the top of ramification very highly posted, but very distant from its roots, and very poor and fragile in creativity, because we have so few lymphs at the branch end in quality and quantity. So it is necessary to step out of one's small branch end and descend to reach the parting point where many branches converge, and where you will find many more lymphs of creativity. Adopting Commedia dell'Arte, the Italian tradizional comic theater which has many similarities with Kyogen, but much less stylized as a "partner branch," we decided to go down to the parting point between Kyogen and Commedia dell'Arte. In the Eenen, En-nen project, we held conferences as well as workshops and experimental performances in collaboration with Commedia dell'Arte actors, namely Angelo Crotti and Andrea Brugnera, in Osaka, Venice and Bologna. For performances we chose some Kyogen texts and adapted them for present-day society by employing the improvisation technique of Commedia dell'Arte. We believe this is the only way to reach a larger bough where we could effectively rediscover the original energy and critical spirit of Kyogen. No less fruitful were the rehearsals themselves, through which we observed not a few essential points. At the beginning it was unexpectedly difficult for Ogasawara to act using improvisation. The reason? As Carola Baldini's MED method suggests, we can identify six different levels of human movement, which go from very personal identity to performing identity. Obviously, as a well-trained Kyogen actor, Ogasawara feels very much at ease at the Scenic Movement level, the most technical level mainly comprising our performing identity. But in acting using improvisation, which required much grater employment of his very personal psycho-physique zone, he had to contend with a less technical level of movement, from which he realized to be completely separated because of his traditional training. His body was heavily penetrated with kata, a stylistically codified form, a sort of performing language of Kyogen ,without which he fell into complete aphasia on the stage. Thus, we noticed in him a sharp split between personal identity and performing identity, life and form, mind and body, an interesting "symptom" typically observed in many traditional theater forms. Through a workshop held at Bologna University, we also realized that kata is not necessarily a fetter but a very effective and creative mode of expression. Kata is a complex language system, that is, a set of symbols to convey meanings. But sometimes in the course of history and the process of aesthetical refinement, the original meanings of kata become blurred or simply forgotten. Only by descending down to the genetic level we can understand the true meanings of kata, which need to be rediscovered every time we practice kata. The Eenen, En-nen project is a specific program to regenerate Kyogen, but all of our research, such as adaptations of Kyogen works, analysis of the symptom of the stage aphasia of Ogasawara or experiments utilizing kata, leads us to a fundamental question about the relationship between form and life. And we can apply the same method to other artistic subjects ; not only theater but also dance, music, painting, etc.