B형 간염 바이러스 X 항원을 면역한 A2K^b Transgenic Mice에서 CD8+ T Cell의 활성화에 의한 X 항원 표현 재조합 Vaccinia Virus에 대한 방어 효과; in vitro 배양을 통한 XEP-3 특이적인 CTL의 반응

황유경,김형일,김남경,박정민,정홍석,Hwang, Yu Kyeong,Kim, Hyung-Il,Kim, Nam Kyung,Park, Jung Min,Cheong, Hong Seok 대한면역학회 2002 Immune Network Vol.2 No.1

Background: Viral antigens presented on the cell surface in association with MHC class I molecules are recognized by CD8+ T cells. MHC restricted peptides are important in eliciting cellular immune responses. As peptide antigens have a weak immunigenicity, pH-sensitive liposomes were used for peptide delivery to induce effective cytotoxic T lymphocyte (CTL) responses. In the previous study, as the HBx peptides could induce specific CTLs in vitro, we tested whether the HLA-A2/$K^b$ transgenic mice that were immunized by HBx-derived peptides could be protected from a viral challenge. Methods: HBx-peptides encapsulated by pH-sensitive liposomes were prepared. $A2K^b$ transgenic mice were immunized i.m. on days one and seven with the indicated concentrations of liposome-encapsulated peptides. Three weeks later, mice were infected with $1{\times}10^7pfu$/head of recombinant vaccinia virus (rVV)-HBx via i.p. administration. The ovaries were extracted from the mice, and the presence of rVV-HBx in the ovaries was analyzed using human TK-143B cells. IFN-${\gamma}$ secretion by these cells was directly assessed using a peptide-pulsed target cell stimulation assay with either peptide-pulsed antigen presenting cells (APCs), concanavalin A ($2{\mu}g/ml$), or a vehicle. To generate peptide-specific CTLs, splenocytes obtained from the immunized mice were stimulated with $20{\mu}g/ml$ of each peptide and restimulated with peptide-pulsed APC four times. The cytotoxic activity of the CTLs was assessed by standard $^{51}Cr$-release assay and intracellular IFN-${\gamma}$ assay. Results: Immunization of these peptides as a mixture in pH-sensitive liposomes to transgenic mice induced a good protective effect from a viral challenge by inducing the peptide-specific CD8+ T cells. Mice immunized with $50{\mu}g/head$ were much better protected against viral challenge compared to those immunized with $5{\mu}g$/head, whereas the mice immunized with empty liposomes were not protected at all. After in vitro CTL culture by peptide stimulation, however, specific cytotoxicity was much higher in the CTLs from mice immunized with $5{\mu}g/head$ than $50{\mu}g/head$ group. Increase of the number of cells that intracellular IFN-${\gamma}$ secreting cell among CD8+ T cells showed similar result. Conclusion: Mice immunized with XEPs within pH-sensitive liposome were protected against viral challenge. The protective effect depended on the amount of antigen used during immunization. XEP-3-specific CTLs could be induced by peptide stimulation in vitro from splenocytes obtained from immunized mice. The cytotoxic effect of CTLs was measured by $^{51}Cr$-release assay and the percentage of accumulated intracellular IFN-${\gamma}$ secreting cells after in vitro restimulation was measured by flow cytometric analysis. The result of $^{51}Cr$-release cytotoxicity test was well correlated with that of the flow cytometric analysis. Viral protection was effective in immunized group of $50{\mu}g/head$, while in the in vitro restimulation, it showed more spectific response in $5{\mu}g$/head group.

사고실험으로서의 문학허구

황유경 ( Hwang Yu-kyung ) 한국미학회 2016 美學 Vol.82 No.4

필자는 문학허구가 인지적으로 진지하게 기여한다고 생각한다. 그리고 우리의 실제적인 문학경험을 고려할 때 그 기여는 명제적 지식이라기보다는 보다 넓은 이해를 제공하는 데 있다고 본다. 필자는 자신의 인식론을 이해의 철학으로 규정하며 허구의 인지적 기능을 중요하게 고려하는 엘긴의 사고실험 견해를 고찰한다. 그에 공감하는 입장에서 지식에서 이해로의 이행의 간략한 논의와 함께 과학실험과의 유비로 문학허구가 사고실험으로서 어떻게 인식론적으로 기능하는가를 분석한다. 나아가 필자는 엘긴의 허구 견해를 전제하며 인지주의자들이 통상 논의하는 허구작품의 몇몇 인지적 국면을 해명한다 I argue that literary fictions afford non-propositional kind of knowledge, depending on Catherine Elgin`s theory of fiction. I first briefly discuss her reconception of philosophy, which replaces knowledge by understanding. For Elgin, cognition involves perceptual discrimination, emotional insight, classification, pattern awareness as well as logical inference. And understanding is conceived as a cognitive faculty that includes abilities to integrate, discriminate, organize, clarify, emphasize, etc. Here, what deserves special attention is Elgin`s contention that art funcions cognitively. In this vein, I focus on literary fictions which contribute to the advancement of understanding, discussing Elgin`s systematic attempt to defend literary cognitivism by taking them to be thought experiments. I believe that this analogy is a promising way of explaining cognitive advance in literature. Furthermore, I react against some of the main non-cognitivist objections. Finally I discuss some cognitive contributions which are widely acknowledged by cognitivists on the basis of Elgin`s literary fiction theory; perspectives, categories, etc. provided by a literary work and cognitive abilities promoted by it are dealt with.

회화기호의 이해

황유경 ( Yu Kyung Hwang ) 한국미학회 2015 美學 Vol.81 No.4

굿맨과 엘긴에게 기호는 지시와 예시라는 양태로 지칭하며 인지적 기능을 발휘한다. 필자는 양인의 기호이론에 의존하여 지칭기호로서 회화의 성격을 고려한다. 회화는 그 소재를 지시(재현)하는가 하면, 그 패턴이나 색채 등을 예시한다. 그리고 감정 같은 것을 은유적으로 예시한다. 즉 표현한다. 기호는 기호체계에 속하므로 회화이해는 그 회화체계의 이해에서 비롯하며, 재현과 예시의 이해는 흔히 작품 외적인 지식을 요청한다. 회화 기호체계에서 특히 주목하게 되는 것이 조밀과 충만이라는 특징이다. 이런 특징으로 말미암아 회화의 해석과 이해는 반복되는 분석과 연구를 요청하며 완결되거나 최종적인 해석이란 존재하지 않는다. 나아가 회화의 기능이나 가치는 무엇보다도 세계의 새로운 국면을 이해하게 하는 데 있다. Goodman and Elgin present a semiotic theory of art, whose aim is to explicate the concept of art in terms of various referential functions. For them, there are two main forms of reference: denotation and exemplification. I try to understand paintings in terms of their symbolic theory. Denotation includes depiction by paintings: e.g., a portrait represents its subject. Exemplification is a way of reference by which an object highlights some of its own features. It explains how abstract paintings can refer: e.g., an abstract expressionist painting exemplifies paint’s viscosity. Expression of feelings and other properties, Goodman maintains, is understood as metaphorical exemplification. To what a given symbol refers is determined by the system to which it belongs. Goodman suggests different syntactic and semantic features by which symbolic systems can be characterized. Here, what deserves special attention is Goodman’s consideration that pictorial symbols are replete as well as dense. The features of density and repleteness explain why paintings deserve continuous study. There may being something more in a painting that we have unnoticed, interpretation is not final. I, following Goodman and Elgin, believe that our experience of paintings involves cognition. We must have certain cognitive skills to be able to make significant discriminations, to discern novel relationships, etc. in paintings. In this respect, paintings increase our understanding of the world, i.e., we learn to reorganize the world in terms of paintings.

정서반응과 이해

황유경 ( Yu Kyung Hwang ) 한국미학회 2015 美學 Vol.81 No.3

엘긴의 인식론에서 정서는 인지적 기능을 수행하며 사고체계의 유지가능성에 영향을 미친다. 정서는 지각처럼 정서를 촉발하는 대상에 대한 반응으로서 그 대상에 대한 정보를 제공한다. 또한 정서는 믿음처럼 달리 간과되는 어떤 특징을 현저하게 만들어놓으며 어느 영역에 대해 인식적 접근을 제공한다. 로빈슨은 정서에 대한 자신의 비인지적인 ‘정감적 평가’ 이론을 기반으로 19세기 사실주의 소설에서 특히 그 등장인물에 대한 정서반응 없이 작품의 중요한 국면을 제대로 이해할 수 없다고 주장한다. 엘긴과 로빈슨은 실생활과 예술에서 정서반응이 대상의 이해에 기여하는 바를 중시하는 점에서 일치한다. 우리 삶에서 예술이 정서를 세련하는 소중한 방편이라고 보는 점에서도 양인은 일치한다. 세련된 정서는 곧 인간이나 세계에 대한 보다 나은 이해를 가져온다. For Elgin, cognition does not consist solely of beliefs. I note that emotions are also cognitive. Elgin emphasizes emotion’s cognitive functions. Following her, I identify some ways emotions function cognitively to advance understanding, which is broader in scope than knowledge. I also consider how emotions parallel to perceptions and beliefs in serving epistemic ends. In discussing emotions, Elgin stresses that emotions afford epistemic access to things we might otherwise overlook. Robinson considers the role of emotions in understanding literature, especially the great realistic novels of the nineteenth century. After sketching her non-cognitive ‘affective appraisal’ theory of emotions in general, I examine her contention that we cannot properly understand the important aspects of novels without responding emotionally to them. Elgin and Robinson agree that emotional responses play an important role in understanding the objects in real life and art. They also agree that art is a valuable means to refine emotion. And the refined emotion may deepen our understanding of the world.

지식으로부터 이해로의 이행: 정서,예시,허구,은유의 인지적 기능 (2)

황유경 ( Yu Kyung Hwang ) 한국미학회 2006 美學 Vol.45 No.-

기획심포지엄 메타비평, 그 현대적 과제와 실천 : 분석미학의 주류와 전망

황유경 ( Yu Kyung Hwang ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.32 No.-

필자는 슈스터만이 밝힌 분석미학의 가장 전형적인 특징과 테마를 바탕으로 분석미학의 주류를 분석한다. 그 특징이란 분석철학의 여러 목표와 방법과의 관련, 크로체 류의 관념론 미학 비판, 예술에 관한 반본질주의와 명료함의 추구, 이차 교과인 메타크리티시즘 즉 비평철학으로서의 미학의 구상, 자연미의 경시, 예술평가 쟁점을 피하려는 경향, 예술의 사회적 역사적 맥락에 대한 강조의 결핍이다. 덧붙여 필자는 의미, 지칭, 허구, 정의, 개념, 재현, 존재론 같은 분석미학 특유의 논제들 논의의 일반적인 성격을 고려한다. 그리고 분석미학의 보다 최근의 작업의 주목할 만한 한 양상이 문학, 회화, 사진, 음악, 회화 등 개별 예술에 주목 하는 경향임을 진단한다. 이로써 미학은 비평적 실천에 다가간다. 여러 이론가들이 분석미학의 한계를 인식하며 예술의 사회적, 문화적, 실천적, 윤리적 차원의 보다 깊이 있는 논의를 필요로 하였다. 필자는 이것이 예술의 본질에 관한 그 낡은 패러다임을 개정하는 분석미학의 바람직한 향방이라고 생각 한다. 우선 보다 최근에 분석미학이 듀이의 프래그머티즘 사고를 새롭게 조명하는 것이 주목할 만하며 바람직하다. 프래그머티즘 미학과 분석 미학이 전적으로 양립 불가능하지 않다는 슈스터만의 논변을 고려하며 필자는 앞으로 분석미학이 예술의 사회적, 실천적 차원에 대한 듀이의 통찰을 보다 적극적으로 포섭하게 되기를 예상한다. 다음으로 20세기 중엽 이후 예술계의 매우 급진적인 변화를 분석하는 영미 이론가들은 분석미학보다는 대륙 전통에서 안내를 구하고자 했다. 대륙적 사고가 예술을 사회변화의 한결 더 넓은 문화적 맥락 견지에서 논의해오며 그들이 필요로 하는 이론을 제공했기 때문이다. 그러나 필자는 분석미학과 특히 포스트모더니즘 양 전통이 사실상 동떨어져 있지 않은 면면을 고려한다. 여기서도 필자는 앞으로 분석미학은 예술을 그 보다 넓은 사회문화적 맥락에서 더욱 직접적으로, 적극적으로 보아야 함을 예상한다. Shusterman`s identification of the features and themes as most typical in analytic aesthetics. They are as follows: connection with the various aims and methods of analytic philosophy; critique of Crocean idealist aesthetics; anti-essentialism about art and the quest for clarity; the conception of aesthetics as a second-order discipline of metacriticism, i.e., philosophy of criticism; the neglect of natural beauty; a tendency to avoid the issue of evaluating art; lack of emphasis on art`s social and historical context. In addition, I observe a general nature of discussions about analytic aesthetics`characteristic topics. Here such kinds of questions in aesthetics as meaning, reference, fictionality, definition, concept, representation, and ontology are briefly dealt with. Another observation is made of a notable aspect of more recent work in analytic aesthetics. It has been a tendency to attend to the individual arts: literature, painting, photography, music and film. By attending to particular arts aesthetics becomes closer to actual critical practise. Learning the limits of analytic aesthetics, not a few theorists have been in need of deeper discussions of art`s social, cultural, practical, and ethical dimensions. I suggest this is a desirable way for analytic aesthetics to revise its old paradigmatic questions concerning the nature of art. In the first place, it is remarkable that, more recently, analytic aesthetics has shed new light on John Dewey`s pragmatist thinking. Considering Shusterman`s argument that pragmatist and analytic aesthetics are not entirely incompatible, I expect that future analytic aesthetics will more actively embrace Dewey`s crucial insights concerning art`s social and practical dimensions. Next, having observed the very radical changes in the artworld after a mid-20th century, Anglo-American theorists engaged in the analysis of them looked not to analytic aesthetics but to Continental tradition for guidance. For Continental thinking, discussing art in terms of a much broader cultural context of social change, offered them the kind of theory they were looking for. However, I show that some main issues, especially of postmodern thinking are, in fact, not alien to analytic aestheticians. Here again, I prospect that future analytic aesthetics should look at art more directively and actively in its broader sociocultural context.

지식으로부터 이해로의 이행 -정서,예시,허구,은유의 인지적 기능 (1)

황유경 ( Yu Kyung Hwang ) 한국미학회 2005 美學 Vol.42 No.-

굿맨의 외연주의 의미론

황유경 ( Yu Kyung Hwang ) 韓國美學會 2009 美學 Vol.57 No.-

굿맨의 세계제작 옹호 -굿맨과 쉐플러의 논쟁을 중심으로-

황유경 ( Yu Kyung Hwang ) 서울대학교 인문학연구원 2011 人文論叢 Vol.66 No.-

Nelson Goodman contends that we make worlds by making world- versions. Though Israel Scheffler approves of Goodman`s epistemological pluralism, he cannot accept Goodman`s thesis of worldmaking. He disagrees with Goodman in that he cannot accept the idea that we make the things to which our versions refer. For Goodman, we make a star by putting its parts together and marking off its boundaries. Scheffler argues that just because we make words, it does not follow that we make a star our words describe; it exists independent of us. I try to make plausible the idea of worldmaking. Following Goodman`s rejection of the distiction between natural and artificial kinds and the convention/ fact dualism, I think it may be crucial in arguing for the contention that there is no independent world with fixed properties. I believe that our choice of convention or version creates or shapes content or the things of a world. For Goodman, art also contributes to the making of worlds. I discuss it in case of painting. I examine Goodman`s view of pictorial reference to show how paintings can have cognitive content. Here, it is remarkable that exemplification is a mode of reference whereby a painting refers to its own features. I also discuss that the discrimination of style is an integral aspect to get the insight paintings present.

비평적 평가의 근거

황유경(Hwang, Yu-Kyung) 민족미학회 2013 민족미학 Vol.12 No.2

필자는 예술작품 평가에서 순수하게 미적인 근거나 이유만을 용인하는 초기 분석미학의 지배적인 추세에 반대하고자 한다. 예술과 인지의 관계에 대한 미적 반인지주의를 비판하고 인지주의를 옹호하며 인지적 근거도 수용하며, 예술과 도덕성 문제에 대한 이른바 자율주의와 비도덕주의를 비판하고 도덕주의를 옹호하며 도덕적 근거도 수용한다. 미적인 속성, 즉 통일성이나 우아함 같은 작품의 형식적 속성이나 표현적 속성을 비롯하여 작품의 인지적 내용과 도덕적 내용, 즉 세계와 인간에 대한 앎과 도덕적 통찰이 모두 작품평가의 객관적 근거로서 인정되는 것이다. 이때 인지적인 것이나 도덕적인 것은 미적인 관련을 맺을 때 비로소 미적 장점으로서 예술의 가치에 기여하게 된다. In this paper, I focus on the work of art itself as the basis for critical evaluation. I consider aesthetic, cognitive, and moral qualities of a work of art as relevant to the evaluative judgment on it as a work of art. Monroe Beardsley, who accepts only aesthetic reasons in evaluation, proposes that unity, complexity, and intensity are general criteria applicable to all the arts. Disagreeing on Beardsley"s view, I accept cognitive and moral reasons as well. I approve cognitive reasons by supporting aesthetic cognitivism which holds that art can give us knowledge, and that art"s capacity to give us knowledge is related to the value of it as art. I criticize aesthetic anti-cognitivism that denies one or both of these two ssues. Next, I approve moral reasons by supporting the so called moralism concerning the debate about art and morality. Here I reject autonomism and immoralism. Especially, I disagree with the claim that works of art can be aesthetically good because of their moral flaws, and hold that they are aesthetically bad because of these flaws. It is also worked out that when cognitive or moral content is conveyed with aesthetic features in a work of art, this is an aesthetic merit in it. Thus cognitive or moral values of art accomplish aesthetic relevance. Now we praise a work of art on the ground that it is unified, or may contain an important view of life or the world, or may present moral insights.