157 research outputs found
A Study on Poetic Narratives and Popularity in Man-in-bo
κ³ μμ γλ§μΈλ³΄γλ κ°λ³ μνΈλ€μμλ μ΄μΌκΈ°λ μ¬κ±΄μ λ΄μ©μ νμ΄μ°λ μ΄μΌκΈ°μμ νμμ μ·¨νλ©΄μ 리μΌλ¦¬μ¦ μμ μ ν΅μ κ³μΉνλ ννΈ, μ°μμ νμμ ν΅ν΄ μ°λ¦¬ λ―Όμ‘±μ νλμ¬λ₯Ό μ΄μ²΄μ μΌλ‘ 볡μν¨μΌλ‘μ¨ μμ μμ¬μ μλ‘μ΄ νμμ 보μ¬μ£Όκ³ μλ€. μ΄ μ°κ΅¬λ κ³ μμ΄ λκ·λͺ¨μ μΈλ¬Ό κ΅°μμ μλΌλ μ₯λ₯΄μ ν μμμ κ·Έλ €λ΄κ³ μλ€λ λ° μ£Όλͺ©νμ¬, μμ€μ μμ¬μλ ꡬλΆλλ μμ¬μ μ±μ·¨λ₯Ό λ³΄μΌ μ μλλ‘ ν λ¬Ένμ μ₯μΉλ₯Ό κ³ μ°°ν΄ λ³΄μλ€.
In Ko Un's Man-in-bo, its individual poems inherit the tradition of realistic poems by taking the form of narrative poem that spins out the contents of a story or episode and, at the same time, show a new form of poetic narrative by restoring the contemporary history of Korean people through the sequence form. Paying attention to the tact that Ko Un describes a large group of people in the frame of the 'poetry' genre, the present study examined literary devices to show narrative accomplishments distinguished from narratives in novels
The Formation Process of The North Korean Calligraphy Letter Style and Its Visual Cultural Characteristics
νμλ
Όλ¬Έ (μμ¬)-- μμΈλνκ΅ λνμ : λ―Έμ λν λμμΈνλΆ(λμμΈμμ¬λ¬Ένμ 곡), 2018. 8. κΉλ―Όμ.μ΄ μ°κ΅¬λ λΆνμ μ체λ΄λ‘ κ³Ό λμμΈμ λΆμνμ¬, μΊλ¦¬κ·ΈλνΌ μμ²΄κ° μ§λλ μλ―Έμ μκ°λ¬Ένμ νΉμ±μ μμ¬μ λ§₯λ½μμ μ½μ΄λ΄λ λ° λͺ©μ μ΄ μλ€. μ΄λ‘μ¨ μ체 λμμΈμ ν΅ν΄ λΆνμ μ¬νμ λ¬Ένλ₯Ό μ΄ν΄νλ λ° ν κ±Έμ λ λ€κ°μκ³ μ νλ€.
μ체λ μκ³ μ¬μν΄ λ³΄μΌμ§λΌλ, ν μ¬νμ μκ°λ¬Έν κ²½κ΄μ κ°λ νλ μ€μν λ¨μκ° λλ€. μ±
, μ λ¬Έκ³Ό κ°μ μΆνΒ·μΈμ 맀체λΆν° μΈλ‘ κ³Ό μμ 맀체, 거리μ μν곡κ°μ λ°°μΉλ ꡬνΈμ μΉν κΈ°λ
λΉμμκΉμ§ λΆν μ£Όλ―Όλ€μ μΆν° κ³³κ³³μμ μ체μ λ§μ£Όνλ€. κ·Έλ¬λ―λ‘ λΆνμ μ체λ₯Ό μ΄ν΄λ³΄λ κ²μ λΆνμ μΌμ μ μκ°λ¬Ένλ₯Ό μ΄ν΄λ³΄λ κ²κ³Ό κ°λ€.
λΆνμ μ체λ κΉμΌμ±μ μ¬νμ£Όμμ μμ‘°λ‘, νμΌνλͺ
μ ν΅μ μμμΌλ‘ νλ λΆν μμ¬κ΄μ κ·Έλλ‘ λ°μν΄ μ¬νμ£Όμ 체μ λ₯Ό μ μ§νκΈ° μν μ μ Β·μ λμ μλ¨μΌλ‘ νμ©λμ΄ μλ€. λΆνμ μ체 μ λ¬Έκ°λ€μ΄ μμ ν μ체λ΄λ‘ μ λ°λ₯΄λ©΄, λΆνμ μ£Όμ μ체μλ λ°±λμ° λͺ
ν체, μ²λ΄μ²΄, λΆμ기체, νμ체, 물결체, κΆμ²΄, μ²λ¦¬λ§μ²΄, 3.1μκ°μ²΄, μ₯μ체 λ±μ΄ μλ€. μ€λλ λΆνμμ λ§λ€μ΄μ Έ μ¬μ©λκ³ μλ μ체λ μμμ체μ νμμ체λ₯Ό ν¬ν¨ν΄ μ½ 700μ¬ μ’
μ΄ λλλ€. μ°κ΅¬μλ λΆνμ μ£Όμ μ체μ λλΆμ΄ μ체μ μ λ°μ μΈ μ§νλλ₯Ό νμ
ν΄ λΆνμ΄ μ체λ₯Ό μ΄λ»κ² μΈμνκ³ , νμ©νλμ§ μ΄ν΄λ³΄κ³ μ νλ€.
λΆνμ μ체λ 1980λ
λλΆν° μμ μ΄λ‘ κ°μ μ체 μ λ¬Έκ°λ€μ ν΅ν΄ 본격μ μΌλ‘ λΆλ₯λμκ³ μ΄λ‘ μ΄ μ 립λμλ€. 1980λ
λλΆν° λΆνμ μ체 μ΄λ‘ μ΄ μμ μ΄λ‘ μλ₯Ό μ€μ¬μΌλ‘ μ 립λμλ κ²μ λΆνμ μ£Όμ ν΅μ¬ μ¬μμΈ μ‘°μ λ―Όμ‘±μ μΌμ£Όμκ° λ°μλ κ²°κ³Όλ‘, μλ‘μ΄ λ―Όμ‘±λ¬Ένμμ λ‘μ μμκ° μ£Όλͺ©λ°κΈ° μμνκΈ° λλ¬Έμ΄λ€. μμμ λΆν₯μ κ° λνμ μμ μ 곡 κ°μ€,
μΈμΒ·μΆν κ΄λ ¨ κΈ°κ΄μ μμμ€ κ°μ€ λ±μ μμ§μμΌλ‘ μ΄μ΄μ‘λ€.
λΆνμ μ체 μ΄λ‘ κ°λ€μ λΆν μ체μ μ΄λ‘ μ μμ νλ λμμ μμ μ€μ¬μΌλ‘ μ체λ₯Ό λλλ λΆλ₯ 체κ³λ₯Ό μ 립νμλ€. ν λ²μ μ°λ μ체λ₯Ό λΆκΈμ¨μ²΄(μμ¬μ²΄)λ‘, μ¬λ¬ λ²μ κ±Έμ³ κ·Έλ¦¬λ μ체λ₯Ό κ·Έλ¦°κΈμ¨μ²΄(λμ체)λ‘ λλμμΌλ©°, μ΄λ¬ν μ체 λΆλ₯λ 1988λ
μ΄ν νμμ체μ λμ§νΈμ체(font)λ₯Ό λΆλ₯νλ κΈ°μ€μλ κ·Έλλ‘ μ μ©λμλ€. μ체λ΄λ‘ μμλ μμΌλ‘ μ°λ
μΊλ¦¬κ·ΈλνΌ μ체μ μ€μμ±μ κ³μνμ¬ κ°μ‘°νμμΌλ©°, μ΄λ¬ν κ°μ‘°λ λ² μ²΄μ μ μΌλ‘ μμ κ°μ΅κ³Ό μμ μμ‘° νλμ μ₯λ €νλ μ μ±
μΌλ‘ μ΄μ΄μ‘λ€. ν체μ μ€μμ±μ΄ λμ€μκ² μΆ©λΆν μ λ¬λ ν, λΆνμμλ μ§λμμ ν체λ₯Ό μ§λμμ λμΌμνμμΌλ©°, μ΄λ₯Ό κΈ°λ
λΉν νμλ€. μ체λ΄λ‘ μμ νΉμν νμ²΄λ‘ λΆλ₯λλ μ΄λ₯Έλ° λ°±λμ° λͺ
ν체λ κΉμΌμ±μ νμμ체,
κΉμ μΌμ λ°±λμ°μ체, κΉμ μμ ν΄λ°μ체λ₯Ό μλ―Ένλ€. μ‘νμ체λ₯Ό μμ¬μμ λμΌνκ² μΈμνλ νΉμ±μ λμμμλ¬ΈνκΆμμ κ³μΉλ ν체 λ¬Ένμ΄λ©°, μ΄λ λ¨νκ³Ό μ€κ΅μμλ λνλ¬λ νμμ΄λ€. νμ§λ§ λΆνμμλ μ‘νμ체λ₯Ό μ μΌμ¬μ체κ³μ μ ν΅μ±μ κ°ννλ λͺ©μ μΌλ‘ νμ©νκ³ , ν체μ μ¬μ μ μκ°μ±μ μΈμ΅νλ©°, λΆνλ§μ λ
μμ μΈ ν체 λ¬Ένλ₯Ό νμ±νμλ€.
μ체λ΄λ‘ μ μ μλ μ£Όμ μ체λ€μ νλͺ
λ―Όμ‘± μ ν΅μ μμμΌλ‘ νμ¬ μμ λμμΌλ©°, λΉμ λͺ©μ리λ₯Ό μκ°ννλ λ° μ ν©ν ννλ‘ νμνλμλ€. μ²λ΄μ²΄λ₯Ό λΉλ‘―ν λΆνμ μ£Όμ μΊλ¦¬κ·ΈλνΌ μ체λ€μ ꡬνΈμ μ μ λ¬Όμ μ¬μ©λμκ³ , μκ°κ΅¬μ μ μΈ νΉμ±μ ν΅ν΄ λΉμ μ¬μκ³Ό μ΄λ
μ λμ€μκ² μ λ¬νλ€. λΆνμ λΉμ λͺ©μ리λ₯Ό λμ€μκ² μΈμμν€κΈ° μν΄ μ체λ₯Ό λ°λ³΅μ μΌλ‘
λ
ΈμΆνκ³ , ν¨κ³Όμ μΌλ‘ μ λ¬νκΈ° μν΄ λ€μν λ³νλ₯Ό μλνμλ€.
λΆνμ μ체λ΄λ‘ μ λΆλ¨ μ΄ν 30μ¬ λ
μ΄ νλ₯Έ 1980λ
λλΆν°
본격μ μΌλ‘ νμ±λμκΈ° λλ¬Έμ λͺ κ°μ§ νκ³μ μ λ΄ν¬νλ€. 첫째λ μ체λ΄λ‘ κ³Ό μ체 λμμΈ μ¬μ΄μ μ°¨μ΄κ° λνλ¬λ€λ μ μ΄μμΌλ©°, λμ§Έλ λ€μνκ² λνλ μ€νμ μ체λ€μ΄ μ체λ΄λ‘ μμ λ€λ£¨μ΄μ§μ§ μμ μ΄λ‘ μ 곡백μ΄
λ°μνλ€λ μ μ΄μλ€. μ°κ΅¬μλ λΆν μ체λ΄λ‘ μμ λ€λ£¨μ΄μ§μ§ μμ μΊλ¦¬κ·ΈλνΌ μ체μ λ€μν μ€νμ μλλ₯Ό μμ λ³μ²΄, μ₯μ체, μ°μ
λ―Έμ λμ체 λ±μΌλ‘ λλμ΄ μ΄ν΄λ³΄μμΌλ©°, μ΄λ¬ν λ³νμ μμ§μμ μΊλ¦¬κ·ΈλνΌ μ체μ λ λ€λ₯Έ νΉμ±μΌλ‘ ν΄μνκ³ μ νμλ€.
λΆνμ μ체λ μ΄λ
κ³Ό μ¬μμ ꡬ체μ μΌλ‘ μ¬ννλ λμμ νμ©λλ λ²μ μμμ μμ λ‘κ² λ³μ©λλ©°, λΆνμ νμ λ¬Ένκ²½κ΄μ μ‘°μ±νλ λ§€μ²΄λ‘ κΈ°λ₯ν΄ μλ€. μ€λλ λΆνμμλ μ»΄ν¨ν°μ λμ§νΈ κΈ°μ μ΄ μμ°¨ μμ΄ νμ©λλ©°, μμ²΄κ° λμ± λ€μν΄μ§κ³ μλ€. μ°κ΅¬μλ λΆνμ μΊλ¦¬κ·ΈλνΌ μ체λ₯Ό μ°κ΅¬ν¨μΌλ‘μ¨ λΆν 체μ μ μκ°λ¬Ένμ νΉμ±μ λ°νκ³ , μ΄λ₯Ό ν΅ν΄ λΆνμ μΌμμ ꡬμ±νλ μ¬νμ λ¬Ένμ λ³νλ₯Ό μ½μ΄λ΄λ λ¨μ΄λ₯Ό λ§λ ¨νκ³ μ νμλ€.This research aims to analyze the North Korean letter style discourse and design in order to explore the significance and visual cultural characteristics of their calligraphy letter style within a historical context. The researcher intended to better understand the social and cultural aspects of North Korea through its typography.
Letter style may seem to be an insignificant considerationhowever, it can aid in gaining a better grasp of understanding the visual cultural landscape of a community. Various letter styles can be seen in everyday life in North Korea, such as in books, newspapers, and publications and printed materialspress and various visual mediaand in slogans, quotations of leaders, and handwritten monumental calligraphy marking natural scenery. Therefore, exploring North Korean letter types can be equivalent to exploring the visual culture of North Koreans daily lives.
The North Korean letter style reflects historical view of "Juche"(주체), which takes Kim Il-sung as the father of socialism, and its heritage rooted in the anti-Japanese revolution. Letter style has been extensively used as a means of propaganda and instigation in order to maintain the North Koreans socialist regime. According to experts, the key letter styles in the North are: Paektusan myungpil-chae(λ°±λμ° λͺ
ν체), Chungbong-chae(μ²λ΄μ²΄), Bulkunki-chae(λΆμ기체), Pyongyang-chae(νμ체), Mulgyol-chae(물결체), Koong-chae(κΆμ²΄), Chollima-chae(μ²λ¦¬λ§μ²΄), 3.1wolgan-chae(3.1μκ°μ²΄), and Jangsik-chae(μ₯μ체). However, more than 700 different styles are in existence and currently in use, including calligraphy and typeface styles. The main letter styles, as well as the overall landscape of the North Korean letter styles, shall be examined in order to figure out how letter style is perceived and used in North Korea.
North Korean letter styles have been categorized and theories pertaining to them have been established by experts and calligraphy theorists since the 1980s. Letter theories have been formed within the field of calligraphy in respond to the North Koreas unique nationalism, Joseon minjok jeiljuui(μ‘°μ λ―Όμ‘±μ μΌμ£Όμ), and calligraphy started to be recognized as a new national form of ethnic cultural art. The revival of calligraphy led to the creation of calligraphy departments in universities, as well as printing and publishing institutions.
North Korean letter style theorists also came up with a categorization system based on how letters are written. Letter types written in one stroke are sorted as Butgulsi-chae(λΆκΈμ¨μ²΄, paintbrush writing style, or calligraphy style), and those written in multiple strokes are sorted as Gringulsi-chae(κ·Έλ¦°κΈμ¨μ²΄, drawn writing style). This system was directly applied to the categorization of typefaces and digital fonts after 1988. The importance of handwritten calligraphy letter types was constantly emphasized, and this led to the regime-wide policy implementation of teaching and promoting calligraphy.
After thoroughly conveying the importance of letter styles to the public, North Korea started to memorialize its leaders' handwriting. The practice of equating handwriting with its writer, which can also be widely seen in South Korea and China, is rooted in East Asian culture. However in North Korea, handwritten letter styles are used as a means to strengthen the legitimacy of the Monolithic Ideological System(μ μΌμ¬μ체κ³). In the theoretical discourse of North Koreas letter, the Paektusan myungpil-chae, a special letter style set derived from handwritings of former leaders, includes Kim Il-sungs Taeyang-sochae(νμμ체), Kim Jong-ils Paektusan-sochae(λ°±λμ°μ체), and Kim Jong-suks haebal-sochae(ν΄λ°μ체). The diagonal aesthetic features commonly found in two letters, Taeyang-sochae(νμμ체) and Paektusan-sochae(λ°±λμ°μ체), have been passed down, thereby forming a unique letter style culture in North Korea.
Letter style discourse describes North Koreas key styles to be rooted in the tradition of revolution, and they are viewed as having been tailored to visualize the party's voice. The key calligraphy types, such as Chungbong-chae(μ²λ΄μ²΄), are used for slogans and propaganda, harnessing their visual-oral characteristics in order to convey the ideologies of the party. Such letter styles are repeatedly used in order to instill the party's voice into the people, and given variation for efficient delivery.
There are a few limitations to the North Korean letter style discourse because it began to be formed in the 1980s, 30 years after the division of the two Koreas. First, there is a difference between the discourse and actual aesthetics, and second, there is a gap in the theory as the various experimental letter styles were excluded from the discourse. Thus, this research aims to further delve into these experimental types, especially focusing on Calligraphy changed-style(μμλ³μ²΄), Jangsik-chae(μ₯μ체), Gringulsi-chae(κ·Έλ¦°κΈμ¨μ²΄, drawn writing style) of North Korean design, etc., all of which are interpreted as exhibiting different characteristics of calligraphy styles.
North Korean letter styles are materializations that represent ideologies, and at the same time, are given variations, and are used as a means of forming the typeface culture landscape. Today, international standard computer and digital technology are being used in North Korea, and typography is being diversified. Therefore, in this research, the visual cultural characteristics of North Koreas regime are to be brought to light in order to provide the basis for understanding the changes occurring in society and the culture that form the daily lives of North Koreans by delving into their calligraphy letter types.β
. 머리λ§
1. μ°κ΅¬μ λͺ©μ κ³Ό λ°°κ²½
2. μ°κ΅¬μ λ²μμ λ°©λ²
3. μ©μ΄ μ μ
1) μΊλ¦¬κ·ΈλνΌ μ체
2) μ체λ΄λ‘
3) μμμ±(ε§εζ§)
β
‘. κ΄λ ¨λ¬Έν κ²ν
1. λΆνμ°κ΅¬λ°©λ²λ‘ μ 보νΈκ³Ό νΉμ
2. μ체λ΄λ‘ κ³Ό λμμΈμ μμ¬Β·λ¬Ένμ λ§₯λ½
3. λΆν λ¬Ένμμ κ³Ό μ체 μ°κ΅¬
1) λΆν μ체μ μ νμ°κ΅¬
2) λΆν λ¬Ένμμ (λ¬Ένμμ )κ³Ό μ체
β
’. λΆν μ체λ΄λ‘ κ³Ό λμμΈμ νμ± κ³Όμ
1. λΆν μ체λ΄λ‘ μ νμ± λ°°κ²½
1) λΆλ¨ μ ν, νκΈ μ체μ νμ±κ³Ό μ κ°
2) νλͺ
λ―Όμ‘± μ ν΅μ μμμ± κ΅¬μΆκ³Ό μμμ λμ€ν
2. λΆν μ체λ΄λ‘ μ μ κ°μ μΊλ¦¬κ·ΈλνΌ μ체
1) 1980λ
λ μ΄ν λ±μ₯ν λΆνμ μ체λ΄λ‘
2) λΆνμ μ체 λΆλ₯μ μΊλ¦¬κ·ΈλνΌ μ체
β
£. μΊλ¦¬κ·ΈλνΌ μ체μ μκ°λ¬Ένμ νΉμ±
1. λͺΈμ νμ₯λ κ°λ
μΌλ‘μ μ‘νμ체
1) λ°±λμ° λͺ
ν체μ μ‘νμ±
2) μ¬μ μ μλκ°κ³Ό μκ°μ°μμ±
2. νλͺ
λ―Όμ‘±μ μ¬μμ ꡬννλ ꡬνΈμ체
1) μ²λ΄μ²΄λ‘ λνλλ μΊλ¦¬κ·ΈλνΌ μ체μ μμμ±
2) μμ± μΈμ΄μ μκ°ν, μκ°κ΅¬μ μ±
3. μ체λ΄λ‘ μ νκ³μ μ€νμ μ체
1) μ체λ΄λ‘ κ³Ό μ체 λμμΈμ μκ°μ μ°¨μ΄
2) λΆν μ체μ μ€νμ μλμ λ³ν
4. μκ²°: μΊλ¦¬κ·ΈλνΌ μ체μ μκ°λ¬Ένμ νΉμ±
μ‘νμ±κ³Ό νλͺ
λ―Όμ‘± μ ν΅μ μμμ± κ°μ‘°
ꡬνΈμ체μ μκ°κ΅¬μ μ±
μ체λ΄λ‘ μ νκ³μ μ€νμ μλ
β
€. λ§Ίμλ§
μ°Έκ³ λ¬Έν
λΆλ‘
AbstractMaste
λΉνμ μ½κΈ° κ΅μ‘μ λ΄μ© μ°κ΅¬ : λΉν λ΄λ‘ μ μμ° κ³Όμ μ μ€μ¬μΌλ‘
νμλ
Όλ¬Έ(μμ¬)--μμΈλνκ΅ λνμ :κ΅μ΄κ΅μ‘κ³Ό,2000.Maste
Clustered microcalcification on film-mammography : histopathologic correlation
μνκ³Ό/μμ¬[νκΈ]
2γ μ΄νμ λ―ΈμΈμννκ° Iγ λΉ 5κ°μ΄μ μμλ κ΅°μ§λ λ―ΈμΈμννλΌκ³ μ μνλ©° μ΄ μ견μ μ’
κ΄΄, μ£Όμμ‘°μ§λ³νκ³Ό ν¨κ» μ
μ±λ³λ³μ μΌλ μ§νλ‘ μλ €μ Έ μλ€. κ·Έλ¬λ, κ΅°μ§λ λ―ΈμΈμννλ μμ±λ³λ³μμλ λνλλ μ견μΌλ‘ κ΅°μ§λ λ―ΈμΈμνν μ견μ 30-40%κ° μ
μ±λ³λ³μΌλ‘ λ³΄κ³ λμ΄ μλ€. ν¬κΈ°κ° μμμλ‘ μκ° λ§μμλ‘ λ μννκ° λ€μν λͺ¨μμ 보μΌμλ‘ μ
μ±κ°λ₯μ±μ΄ λλ€κ³ νμ§λ§ μ
μ±κ³Ό μμ±λ³λ³μμ μ€μ²©λλ μκ²¬μ΄ λ§μ λλΆλΆμ μμμ μ‘°μ§κ²μ¬λ‘ νμ§μ΄ νμνλ€. μ΄μ μ°κ΅¬μλ 1988λ
1μλΆν° 1994λ
2μκΉμ§ μμ λ° μ‘°μ§λ³λ¦¬νμ μΌλ‘ νμ§λ 63λͺ
μ νμλ₯Ό λμμΌλ‘ λ¨μμ λ°©νλ¦μ κ΅°μ§λ λ―ΈμΈμνν μ견μ λΆμνμ¬ μ
μ±κ³Ό μμ±λ³λ³κ³Όμ μ°¨μ΄λ₯Ό μ°κ΅¬νκ³ μ‘°μ§λ³λ¦¬νμ μΌλ‘ μ°κ΄μμΌ μ
μ±κ³Ό μμ±λ³λ³μμ μννμ μ‘°μ§νμ μ°¨μ΄μ λ° λ¨μμ λ°©νλ¦κ³Ό μ‘°μ§λ³λ¦¬νμ μ견μ μ°κ΄μ±μ μ°Ύμλ³΄κ³ μ νμ¬ λ€μκ³Ό κ°μ κ²°κ³Όλ₯Ό μ»μλ€.
1. μ
μ±λ³λ³ λλΆλΆμ΄ 1γμ΄νμ μννλ₯Ό 보μμΌλ©° λ€μν ν¬κΈ°μλ€. μννμ λͺ¨μμ pepper, fine granular, branching, comma, tadpole, wormiformλͺ¨μ΄ λ§μκ³ (p<0.05), λ€μν λͺ¨μμ΄ λ§μλ€. μμ±μννμ λΉν΄ κ±°μ 보μ΄μ§ μλ 1^^(+)μ μννκ° λ§κ³ μ
μ μμ΄ λ§μ μκ° μμ±μ λΉν΄ λ§μλ€(p<0.05). μ£Όμμ λλ°λ μ‘°μ§λ³νμ΄ λλΆλΆμμ κ΄μ°°λμκ³ , κ²½κ³κ° μμ§μμ§μ§μλ μ’
κ΄΄λλ°μ΄ μμ±μ λΉν΄ λ§μλ€. κ²½κ³λ λΆλΆλͺ
νμλ€.
2. μμ±λ³λ³μμλ 60%κ° 2γμ΄νμ μννλ₯Ό κ°μ§κ³ μμκ³ , λΉκ΅μ μΌμ ν ν¬κΈ°μ μννκ° μμλ€(p<0.05). coarse granular, punctate, salty, S-shapeμ΄ λ§μκ³ (p<0.05), μ
μ±μ λΉνμ¬ μΌμ ν λͺ¨μμ΄μλ€. μννμ μ§ν μ λμ μμ΄μ 2^^(+)μ΄μμ μ§ν μν
νκ° κ΄μ°°λμλ€(67.4%). μμ±μ 80%μμλ μ£Όμμ‘°μ§λ³νμ΄ μμκ³ (p<0.05), 63.0%μμλ μ£Όμ μ’
κ΄΄λ₯Ό λλ°νμ§ μμλ€. λ³μ°μ λΉκ΅μ μΌμ νμλ€.
3. μ‘°μ§νμ μ견μ κ΄μ°°νμμλ, μ
μ±λ³λ³μ λλΆλΆ(n=8/10)μμ μννλ κ΄κ°λ΄μ μμΉνμμΌλ©°, μμ±λ³λ³μ΄μλ κ΄κ°λ΄(n=10/17) λ° κ΄λ΄μνΌμΈν¬μ(n=7/17) μμΉνμλ€. μ
μ±μννμ λͺ¨μμ laminated(n=6/10)κ° λ§μκ³ μμ±λ³λ³μμλ granular, Baltyλ‘μμ
μννκ° κ΄μ°°λμλ€.
4. μ
μ±λ³λ³μ μννμ¦ 30%μμλ μ
μ±λ° κ·Έ μ£Όμ μμ±λ³λ³μμ μννκ° λ°κ²¬λμκ³ , 10%μμλ μμ±λ³λ³μ΄μλ§ μννκ° κ΄μ°°λμλ€.
μ΄μμ κ²°κ³Όλ‘ μ
μ±λ³λ³μ λλ°νλ μνννΉμ±μ μμμμκ³ , μ
μ±λ³λ³μμλ κ·Έ μ£Όμμ μλ μμ±λ³λ³λ΄μ μμ±μννλ₯Ό ν¬ν¨ν μ μλκ²μ μμλ€. λ, μ ν₯μ μΈ mappingμ ν΅ν΄ λ§μ μμ± μννλ³λ³μΌλΆλΆμ μ
μ±μ΄ μμ¬λλ μννκ° μλ κ²½μ° μμ κ³Ό ν¨κ» mapping μ°κ΅¬νλ κ²μ΄ μ νν μ§λ¨μ νμν κ²μΌλ‘ μκ°λλ€. λ μμ±, μ
μ±μννμ μ‘°μ§νμ μμΉ λ° λͺ¨μμ κ³ ν΄μλ μ΄μμ§λ¨μ μ΄μ©ν μ μμ κ²μΌλ‘ μκ°λλ€.
[μλ¬Έ]
The clustered microcalcification on film mammography is termed when microcalcifications below 2mm in size and above 5 per 1 cm**3 in number are noted.
For the purpoae of evaluation of differential points of clustered
microcalcification in malignant and benign lesion on mammography and correlation with histopathology, author evaluated 63 film-mammograms of surgically confirmed patients with clustered microcalcifications. And 24 histopathologis findings were
reviewed and correlated with mammographic findings.
The following results were obtained.
1. In mammography, malignant calcifications shot variable finding in size and shape such as pepper, fine granular, branching, comma, tadpole and wormiform. The malignant calcifications showed more faint, irregular margin. and they were usually associated with parenchymal distortion and associated mass.
2. In histopathology, calcification of cancer tore located inductal lumen, while benign one were usually located in ductal epithelium(p<0.05). However, five benign lesions associated with 15 cancer patients showed still benign calcifications adjacent to proven cancer
The typical malignant calcifications were the shape of laminated while benign calcifications showed granular and salty on light microscope.
3. Mammographic pepper calcifications were correlated with clustered fine granular or salty on light microscope. Granular, punctate, salty and S-shaped calcifications mere correlated with light microscopic clustered granular, salty and granular, salty calcification.
Maiiographic elongated, branching, comma, tadpole and wormifort calcificationa were correlated with light microscopic laminated calcification.
In conclusion, we have recognized about characteristics of malignant clustered microcalcification on mammography and histopathology.
Benign-looking calcifications in area of malignant lesiens yield calcificaiton of benign lesion adjacent to malignant lesion. And through prospective rapping study, re found area of atypical ductal hyperplasia in area of faint pepper, comma,
tadpole calcifications associated with more predominant benign calcificaitons.
we concluded that if malignant-looking calcification are present in an area of predominant benign calcifications, excision and rapping study is necessary for better demonstration of the ADH, hidden or associated breast cancer.restrictio
A Study on Literary Criticism as Productive Thinking and Literary Education
Language education should cultivate the reader's ability to reread the text in the
view of the reader himself, not being satisfied with teaching him to read it as it
is. That is because to read the text should be ultimately to understand and reflect
on the life of the reader himself. Following this view, this study pays attention to
literary criticism as productive thinking. Lim Hwa as a critic let us see that literary criticism is the critical and reflective interaction between the text and the
reader
Up-regulation of heat shock protein70 by cyclosporine A and mycophenolate mofet
μνκ³Ό/μμ¬[νκΈ]
Heat shock proteins(HSPs)λ μΈν¬ λ¨μμ 물리μ , μννμ μκ·Ήμ μν μΈν¬μμμ λν΄ μΈν¬λ₯Ό 보νΈνκ³ μΈν¬μ νμμ±μ μ μ§ μμΌμ£Όλ λ¬Όμ§λ‘ μλ €μ Έ μλ€. HSPsλ κ·Έ λΆμλκ³Ό κΈ°λ₯μ μν΄ λͺ κ°μ§ μ κ·Έλ£ΉμΌλ‘ λΆλ₯λλ©° νΉν HSP70μ μ μ₯ μ‘°μ§μ λΆν¬νμ¬ μ΄
μμ, νν, μΌν¬μ± μκ·Ή, μ°μ λ
μ±λ±μ μν΄ μ¦κ°νμ¬ μ΄ λ΄μ±μ κ°κ² ν¨μΌλ‘μ¨ μ μ₯ μΈν¬μ μμμ μ΅μννλλ° κΈ°μ¬νλ μν μ νλ€.
1980λ
λλ₯Ό μ§λλ©΄μ λ©΄μ μ΅μ μ μ κ°λ° λ° μ΄μμ μ λ°μ μΌλ‘ μ₯κΈ° μ΄μμ΄ νλ°ν΄μ§κ³ μ΄ν cyclosporine Aμ steroidμ λ³ν© μ¬μ©μΌλ‘ μ₯κΈ° μ΄μμ μ±κ³΅λ₯ μ΄ ν¬κ² μ¦κ°νμμΌλ λ©΄μ μ΅μ μ μ μ¬μ©μ μμ΄ μ½μ μ체μ μ μ₯ λ
μ± λλ¬Έμ μ¬μ© μμ μ ν μ μ΄ λ¬Έμ κ° λμλ€. μ΄λ¬ν μμ μμ μ΅κ·Ό μ μ₯ μ‘°μ§ μ체μ λν λ
μ±μ μμΌλ©° μ μ₯μ΄μ ν cyclosporine Aλ₯Ό λ체ν λ§ν ν¨κ³Όκ° λ³΄κ³ λκ³ μλ mycophenolate mofetil(MMF)μ΄ κ°λ°λ¨μΌλ‘μ¨ λ©΄μ μ΅μ μ μ¬μ©μ λ¬Έμ μ μ ν΄κ²°ν μ μλ κ³κΈ°κ° λκ³ μλ€.
λ³Έ μ€νμμλ νν-μ¬κ΄λ₯ μμμ μΌμΌν¨ Sprague-Dawley ratμ μ μ₯ μ‘°μ§μμ cyclosporine Aμ MMFμ μ¬μ© λ° μ΄λ€ μ½μ λ₯Ό λ³ν© μ¬μ©ν κ²°κ³Ό μΌμ΄λλ μΈν¬ λ΄ λ³νμ λνμ¬ λ©΄μ μ‘°μ§ ννμΌμμ ν΅ν΄ HSP70μ λ°ν μ λλ₯Ό νκ°ν¨μΌλ‘μ¨ μ λ
μ±μ λ―ΈμΉλ MMFμ
cyclosporine Aμμ μνΈκ΄κ³ λ° μ°¨μ΄μ μ λνμ¬ μμλ³΄κ³ μ νμλ€.
λ°±μμ μ μ₯ μ‘°μ§μ μ΄μ©νμκ³ μ°μΈ‘ μ μ₯μ μ μΆν ν νν-μ¬κ΄λ₯ μμμ λ°μ§μμ μ’μΈ‘ μ μ₯μ μ μΆνμ¬ λμ‘°κ΅°μΌλ‘ μ¬μ©νμλ€. μ€νκ΅°μΌλ‘λ μ’μΈ‘ μ μ₯μ νλ₯λ₯Ό μ°¨λ¨ν ν μ¬κ΄λ₯μν¨ νν-μ¬κ΄λ₯ μμκ΅° λ° μ½λ¬Όμ¬μ©κ΅°μΌλ‘ λλμκ³ μ½λ¬Όμ¬μ©κ΅°μ cyclosporine
Aμ MMF λ° λκ°μ§ μ½μ λ₯Ό λ³ν© μ¬μ©ν κ΅°μΌλ‘ λλμ΄ μ’μΈ‘ μ μ₯ μ‘°μ§μ μ»μ ν λ©΄μ μ‘°μ§ ννμΌμμ νμκ³ μμ λΆμκΈ°λ₯Ό ν΅ν΄ μΌμλ κ°λλ₯Ό μΈ‘μ νμ¬ κ° μ€ν κ΅°μμ HSP70μ΄ λ°νλλ μ λλ₯Ό νλ¨νκ³ λΉκ΅νμ¬ λ€μκ³Ό κ°μ κ²°λ‘ μ μ»μλ€.
1. λμ‘° κ΅°μ λΉνμ¬ νν-μ¬κ΄λ₯ μμμ λ°μ κ΅°μμ HSP70μ λ°νμ΄ μ¦κ°νμλ€(p<0.05).
2. νν-μ¬κ΄λ₯ μμμ λ°μ κ΅°κ³Ό λΉκ΅νμ¬ μ½λ¬Όμ μ¬μ©ν κ΅°μμλ HSP70μ λ°νμ΄ μ¦κ°νμ¬ μ μν λ§ν μ°¨μ΄κ° μμλ€(p<0.05).
3. μ½μ λ₯Ό μ¬μ©ν κ΅°μμλ cyclosporine Aλ₯Ό μ¬μ©ν κ΅°κ³Ό MMFλ₯Ό μ¬μ©ν κ΅°μ λΉκ΅νμμ λ HSP70μ λ°ν μ λμλ μ μ ν λ§ν μ°¨μ΄λ μμλ€(p>0.05).
4. λ¨λ
μΌλ‘ cyclosporine Aλ₯Ό μ¬μ©ν κ΅°κ³Ό μ½μ λ₯Ό λ³ν© μ¬μ©ν κ΅° μ¬μ΄μλ μ€νλ € λ³ν© μ¬μ©ν κ²½μ°μ HSP70μ λ°νμ΄ κ°μνμλ€(p<0.05).
μ΄μμ κ²°κ³Όλ‘ νν-μ¬κ΄λ₯ μμμ λ°μ μ μ₯ μ‘°μ§μμλ HSP70μ λ°νμ΄ μ¦κ°νμ¬ μ‘°μ§ μμμ΄ μμ¬λμλ€. μ½λ¬Όμ λ³μ©ν κ²½μ° λ μ¬ν μ‘°μ§ μμμ΄ κ°λ₯ν¨μ μ μ μμκ³ μ μ₯ λ
μ±μ΄ μλ€κ³ μλ €μ§ MMFμμλ HSP70μ΄ μ¦κ°νλ κ²μΌλ‘ 보μ μΈν¬ λ¨μ μμμ κ°λ₯μ±μ΄ μμμ μ μ μμλ€.
[μλ¬Έ]
With the development of new immunosuppressive agents. the focus of anti-rejection therapy has shifted from prevention of acute rejection to an immunosuppressive approach with minimal toxicity. Cyclosporine A and corticosteroids all have adverse effects such as nephrotoxicity, diabetes mellitus and lymphoproliferative disorder.
As a new immunosuppressive agent having a different mechanism. mycophenolate mofetil(MMF) emerged for clinical trials in the early 1990s.
The 70kD heat shock protein is expressed significantly in the cell under normal state and is considerably induced under stressful conditions. The heat shock response is a highly conserved response of cells to a variety of stresses, which
are induced under pathophysiological conditions, such as embryonic development, cell differentiation, toxin exposure, and oxidative stress. This paper focuses on nephrotoxic effect of MMF at cellular level. Male Sprague-Dawley rats were randomized and divided into 5 groups. In group A(n=4), right nephrectomy was
performed only and group B(n=4) was injured by ischemia-reperfusion insult in left kidney after right nephrectomy. The rats in group C,D,E received cyclosporine A(25γ/γ, subcutaneous injection ;group C(n=4)), and received MMF(l0γ/γ, per oral ;
group D(n=4)) and both drugs(cyclosporine A 25γ/γ plus MMF lOγ/γ ;group E(n=4))daily for l week.
Expression of HSP70 after ischemia-reperfusion injury was studied in the course oftime(n= 16). After ischemia-reperfusion injury, the rats were sacrificed on the lst, 5th, 7th, and the 14th day. Maximal accumulation of HSP70 in rat tissue occurred on the 5th day after ischemia-reperfusion injury.
Immunological staining shows an increased expression of HSP70 in use of MMF as well as cyclosporine A. This paper reports that MMF acts as a cell damaging stressor in renal tissue of Sprague-Dawley rats.ope
Educational Search of Natural Images Appearing in Lee Won Sus Childrens Poems
μ΄ μ°κ΅¬λ μ΄μμ λμμ λνλ μμ° μ΄λ―Έμ§μ μμκ³Ό κ·Έ μλ―Έλ₯Ό μ΄ν΄λ³΄μλ€. μ°κ΅¬μ¬μ λ§₯λ½μμ λ³Ό λ μ΄μμμ λμλ μ£Όλ‘ νμ€μ£Όμμ κ΄μ μμ λ€λ£¨μ΄μ‘μΌλ λ°λ·μμΈ ο½’κ³ ν₯μ λ΄ο½£μμλΆν° μ΄μμλ λ§μ μνμμ μ°λ¦¬λλΌμ νλ²ν μ골 νκ²½κ³Ό κ·Έ μμμ νΌμ³μ§λ μμ΄λ€μ μΌμμ μ¬νν΄ μλ€.
κ³ ν₯κ³Ό μμ°μ μλ¦λ€μμ λ
Έλν κ·Έμ λμμμ, μμ°μ κ°κ΄μ μΈ μ΄λ―Έμ§λ‘ μ μλκ±°λ μ ν¬μ μΌλ‘ μ°½μ‘°λ μ΄λ―Έμ§μ κ·ΈμΉμ§ μκ³ μμΈμ μ μ€ν μ μλ₯Ό 맀κ°νλ μν μ ν΄ μλ€. μ΄μμ λμμμ μμ° μ΄λ―Έμ§λ (1) μμ νμμ 그리μμ 맀κ°νλ μν μ νκΈ°λ νκ³ , (2) μΈκ°κ³Ό λλ±ν μμΉμμ μνΈ κ΅κ°νκ³ λ°°λ €ν΄μΌ ν λμμΌλ‘ μ μλκΈ°λ νλ©°, ν κ±Έμ λ λμκ° (3) μμ νμμ λ
μλ‘ νμ¬κΈ μμ°κ³Ό ν¨κ» μ΄μκ°λ©΄μ λ°°μμΌ ν μ§νλ₯Ό μΌλ¬μ£ΌκΈ°λ νλ€.
This study examined the aspect and meaning of natural images appearing in Lee Won Sus childrens poems. In his childrens poems that sang for home and natures beauty, nature was presented not either as an objective image or as an image limited to a merrily created image, but played a role of mediating poets thorough emotion. In Lee Won Su childrens poem, natural images 1 played a role of mediating poetic speakers nostalgia, 2 were presented as an object with which was to be interβsympathized and solicited in a position equal to human beings, and further more 3 told wisdom that both the poetic speaker and readers should learn through living with the nature.μ΄ λ
Όλ¬Έμ 2009λ
λ μ²μ£Όκ΅μ‘λνκ΅ μμ 곡λͺ¨ μ°κ΅¬κ³Όμ (κ³Όμ λ²νΈ: RC2011015)λ‘ μνλμ
(A)Study on poetry reading education as a play of knowledge construction
εΈδ½ο₯ζ(ε士)--μμΈε€§εΈζ ‘ 倧εΈι’ :εθͺζθ²η§,2007.Docto
The Art of Meaning and Stroke: Visual Cultural Characteristics of North Korean Calligraphy Letter Style
μ΄ μ°κ΅¬λ λΆνμμ λ»κ³Ό νμ μμ λ‘ ννλλ μμμμ²΄κ° μ΄λ ν μκ°λ¬Ένμ νΉμ±μ λ λμ§ λΆνμ μ체 μ΄λ‘ μ λΆμ ν΄ λ°νλ λ° λͺ©μ μ΄ μλ€. λΆνμ μ체λ 1980λ
λ μ΄νμ ꡬ체μ μΌλ‘ μ체 μ΄λ‘ μ΄ νμ±λμ΄ κ°λ
κ³Ό μ νμ΄ μ²΄κ³νλλ©΄ μ μ§λμ ν체μ μ€μμ±μ΄ λΆκ°λμλ€. λ°±λμ° 3λ μ₯κ΅°μ ν체μμλΆν° μμ¬μ²΄μ λ²μ£Όλ₯Ό ν¬κ΄νλ μμμ체λ μ£Όλ―Όλ€ μ μν κ³³κ³³μ λ°°μΉλμ΄ λΆνλ§μ λ
νΉν μκ°λ¬Έν κ²½κ΄μ μ‘°μ±νλ λ° κΈ°μ¬νμλ€. κ·Έλ¦¬κ³ μ¬νμ£Όμμ λ΄μ©μ λ―Όμ‘±μ ν μμ λ΄μλ΄λ 주체미νμ μ°μ₯μ μμμ λΉμ λͺ©μ리λ μμμμ²΄λ‘ μκ°νλμ΄ λμ€μκ² μ λ¬λμλ€. μ€λλ λΆνμ μ 체λ 700μ¬ μ’
μ μ΄λ₯΄λ©° λ€λ³νλκ³ μλ€. λΆνμ μμμ체λ₯Ό λΆμνλ κ²μ λ³ννλ λΆν μκ°λ¬Ένμ νλ¦κ³Ό κ²½νμ ν΄ μν΄λ΄λ λ° νλμ λ¨μ΄λ₯Ό μ 곡νλ€.N
Developing a Liberal Arts Course in the Visual Arts and Culture of Everyday North Korea for Unification and Peace in the Korean Peninsula
μ΄ μ°κ΅¬λ λνμλ€μ λΆν λ¬Ένμμ μ λν μ΄ν΄μ ν΅μΌ μλλ₯Ό λλΉν μ°½μμ μλμ ν¨μνκΈ° μν κ΅μκ΅κ³Όλͺ©μ κ°λ°νλ λ° λͺ©μ μ΄ μλ€. ꡬ체μ μΌλ‘ λΆν λ¬Ένμμ μ νμ μ μ°¨μμμ μ΄ν΄νκ³ λ¨λΆν μ μ μ λ°κ²¬ν¨μΌλ‘μ¨ ν΅μΌΒ·ννμ λν λ¬Έμ μ μ°½μμ μΌλ‘ μ κ·Όν μ μλ μλμ λ°°μνμ¬ ν΅ν©λ ν΅μΌ λ¬Έν νμ±μ μ°½μΆμ λͺ©νλ‘ νλ€.
κ΅μ κ΅κ³Όλͺ© μ κ°λ°μ μν΄ λ³Έ μ°κ΅¬μμ μ€μ ν κΈ°λ³Έ λ°©ν₯μ λ€μκ³Ό κ°λ€. 첫째, λΆν λ¬Ένμμ μ λν ꡬ체μ μ΄ν΄λ₯Ό ν μ μλ λ΄μ©μ κΈ°λ°μΌλ‘ κ΅κ³Όλͺ©μ ꡬμ±νλ€. λμ§Έ, λΆνμ μΌμμ μκ°μμ μ€μ¬μΌλ‘ λ¬Ένμμ μ°¨μμμ μ΄ν΄νκ³ λ¨λΆν μ μ μ λͺ¨μνλ κ³κΈ°λ₯Ό κ°λλ€. μ
μ§Έ, ννν΅μΌ λ° ν΅μΌλ¬Ένμ λν μμμ ν¨μνλ€. λ·μ§Έ, ν΅μΌ κ°μμ± νμ±κ³Ό λ¬Ένμλ―Ό μλμ κ°νν μ μλλ‘ νλ€. λ³Έ κ΅κ³Όλͺ©μ λΆνμ μΌμμ μ΄λ£¨λ λ¬Ένμμ μ μ΄ν΄ν΄ νλ¬Ένμ λν λ°°λ €μ¬κ³Ό ν¬μ©λ ₯μ λ°°μνκ³ , κΈλ³νλ κ΅μ μ μΈ μμμλ κ· ν μ‘ν μκ°μΌλ‘ ν΅μΌΒ·ννμ λν μ μ§μ μ΄κ³ μ°½μμ μ κ·Όμ ν μ μλλ‘ νμλ€.
μ°κ΅¬κ²°κ³Όλ‘ λ³Έ κ΅κ³Όλͺ©μ λνμλ€μ΄ μμ¬Β·λ¬Ένμ μΈμμ λ°νμΌλ‘ λΆνμ μΌμκ³Ό λ¬Ένμμ μ μ΄ν΄νκ³ λ
ν΄ν μ μλλ‘ κ΅κ³Όλͺ©μ κ°μκ°μμ μΈλΆμ¬νμ μ μνμλ€. λΆνμ λ¬Ένμμ μ ν¨κ³Όμ μΌλ‘ μ λ¬νκΈ° μν΄ μκ°μμ λΆμΌλ₯Ό μ€μ¬μΌλ‘ 6κ° λΆμΌ(λ―Όμ‘±λ¬Ένμμ , λ―Έμ , λμ건μΆ, μ°μ
λ―Έμ (λμμΈ), 곡μ°μμ , μν)λ₯Ό μ μ ν΄ κ° μ£Όμ°¨λ³ κ°μ μΈλΆκ³νμκ³Ό κ°μ λ΄μ©μ μ μνμλ€.This study aims to develop a course in liberal arts education that would help undergraduates improve their creativity and sensitivity in preparation for the period of unification in the Korean peninsula. This course was designed to encourage the academic comprehension and interpretation of North Korean daily life and visual culture by immersing students in the historical and cultural contents of North Korea.
Thus, the overarching goal for this course is to create a culture of unification by proving students the abilities to understand the art and culture of North Korea via an academic approach; this will also benefit empathy and sensitivity in the exchanges between South and North Korea.
The cultivation of these capabilities is the driving purpose for the creation of an integrated unified culture.
The framework of this course is as follows. First, the main contents presented to the students will consist of specific and comprehensive data regarding North Korea. Second, students will have the opportunity to find their own answers through individual experiences in the everyday visual arts and culture of North Korea which will help students develop their own point of view of unification and peace. Third, the course will encourage them to think upon the importance of peace attained through unification and of unification itself. Fourth, this course will inspire students to have sensitivity and instill mature civic awareness. The lectures will enable undergraduates to not only develop a note of thoughtfulness regarding North-South coexistence but also to approach unification with a balanced perspective.
In the study conclusion, we offer suggestions for the overall composition of the lecture contents derived from the 6 categories we have selected (national arts, arts, urban architecture, design, performing arts, and films).
This study also proposes a detailed syllabus and the contents for each weekly lecture.μ΄ μ°κ΅¬λ 2017λ
ν΅μΌκ΅μ‘ μ λλν μ°κ΅¬μ¬μ
μΌλ‘ μμΈλνκ΅ ν΅μΌννμ°κ΅¬μμ μ¬μμ μ§μλ°μ μνλ μ°κ΅¬μ
- β¦