鍼刺가 人體의 血漿 Atrial Natriuretic Peptide,Aldosterone, Cortisol 濃度 및 Renin 活性度에 미치는 影響

朴秀雄,李昊燮 圓光大學校 韓醫學硏究所 1991 원광한의학 Vol.1 No.1

The sources of body water are metabolically produced and ingested water. There are four sites from which water is lost to the external environment : skin, lungs, gastrointestinal tract, and kidneys. According to the theory of oriental medicine, the balance of body water is controlled by kidneys, lungs, Bee(脾), urinary bladder, and Sam Cho(三焦), the function of skin is controlled by lungs(肺主皮毛) The aim of the present study was to elucidate the effects of acupuncture in the meridian point Sam Cho Soo(B22), Bee Soo(B20), and Pye Soo(B13) on the renin-angiotensin aldosterone system and atrial natriuretic peptide(ANP). The results obtained were as follows: 1. Plasma atrial natriuretic peptide was decreased significantly after acupuncture in the meridian point Pye Soo(B13) 2. Plasma renin activity was decreased significantly after acupuncture in the meridian point Sam Cho Soo(B22). 3. Plasma renin activity was increased significantly after acupuncture in the meridian point Bee Soo(B20) 4. Plasma aldosterone concentration was decreased significantly after acupuncture in the meridian point Sam Cho Soo(B22) and Bee Soo(B20) 5. Plasma cortisol concentration was decreased significantly after acupuncture in the meridian point Bee Soo(B20). 6. Plasma ACTY concentration was decreased significantly after acupuncture in the meridian points Bee Soo(B20) and Pye Soo(B13) These results suggest that meridian points Sam Cho Soo(B22), Bee Soo(B22), and Pye Soo(B13) have regulatory function for the body water metabolism. The effects of acupuncture in the meridian points the Sam Cho Soo(B22) and Bee Soo(B20) were related with the changes of plasma levels of renin activity and aldosterone concentration, but the effects of acupuncture in the Pye Soo(B13) was related with the decreases of plasma levels of ANP and aldosterone.

李彦迪 문학의 창작현장과 遺蹟

이수환(Lee Soo-Hwan) 대동한문학회 2008 大東漢文學 Vol.29 No.-

본고는 조선중기의 대표적인 성리학자이며 이 시기의 詩문학사에서도 빼놓을 수 없는 중요한 위치를 점하고 있는 晦齋 李彦迪의 문학창작 현장과 그 유적에 대한 연구이다. 이언적의 시가 창작된 현장은 그의 생애를 통해서 확인할 수 있다. 그는 일생 동안 몇 번의 외직을 제외하면 고향인 良佐洞과 인근의 玉山別業 그리고 오랜 관료생활을 한 서울과 말년의 귀향지인 강계에서 보냈다. 이 중 서울 생활은 관료생활의 어려움을 고려하면 詩 창작이 많지 않았다고 보여지고, 귀향지인 강계는 그 현장을 현재로서는 확인할 수 없다. 이런 점을 고려하여 본고에서는 옥산별업(獨樂堂, 定惠寺)과 양좌동을 중심으로 그 현장과 역사적 유적에 대해 검토하였다. 특히 옥산별업은 이언적의 젊은 시절 독서처였고, 또한 그의 대표적인 道學詩나 自然詩가 이곳에서 창작되거나 또는 이곳을 대상으로 하였다는 점에서 특별한 의미가 있다. 다만 이 두 곳은 이언적 생시에는 새롭게 조성되고 있었던 마을이라는 점에서 역사적 유적이 많지 않았고, 그의 사후에 조성된 유적이 많다는 점에서 본고에서는 이중에서 특히 이언적의 학문을 현향, 계승하기 위해 세워진 玉山書院을 포함하여 검토하였다. 또한 옥산별업은 이언적의 독서처였고 또한 자연 승경이 좋아, 조선중기 이후 많은 학자들이 래왕하면서 玉山九曲을 설정하는 등 많은 詩歌를 읊었는데, 본고에서는 이 내용도 포함하여 검토하였다. This paper examined literature creation sites and remains of Lee Eon-jeok(李彦迪) (pen name: Hoijae(晦齋)) who was a representative Sung Confucianism scholar to be important at poetry literature history at that time. The places where Lee Eon-jeok's poetry was created could be identified through Lee's career. Lee Eon-jeok mostly spent his life time at hometown of Yangjwadong(良佐洞), neighboring place of Oksanbyeoleob(玉山別業), Seoul where he lived government official life for a long time, and Ganggye where he returned to hometown to live life in last phase of his life, except for working for some of local government posts in his lifetime. And, Lee's living life at Seoul seemed not to have a lot of poetry creation considering his difficulties of government official, and Ganggye where Lee returned to hometown could not identify its place at the moment. Considering such a fact, the paper investigated sites as well as historical remains based on Oksanbyeoleob (Dokakdang(獨樂堂), Jeonghyesa(定惠寺)) as well as Yangjwadong. In particular, Oksanbyeoleob was place where Lee Eon-jeok read books in his young days to write not only poetry of study of human nature but also poetry of the nature and to select the place as an object. Both places, however, villages that were newly constructed when Lee Eon-jeok was alive had not many historical remains but remains being constructed after his death: This paper examined Oksanseowon(玉山書院) and others that were erected to make Lee's science widely known and to inherit it. And, Oksanbyeoleob was place where Lee Eon-jeok read books and a lot of scholars visited since the middle of Chosun Dynasty to write Oksankukok 玉山九曲) and a lot of other poems: This paper examined contents of those oems.

안도 다다오의 이우환 미술관의 개념적 관계성과 공간구성 분석

황인애(Hwang, In-Ae),이현수(Lee, Hyun-Soo) 한국실내디자인학회 2019 한국실내디자인학회 학술대회논문집 Vol.21 No.1

The abandoned island Naoshima was reborn with the will of Chairman Soichiro Fukudake and the efforts of Tadao Ando. Tadao Ando designed the Benesse House Museum, the Chichu Art Museum, and the Lee Ufan Museum, which are called the three major museums of Naoshima. The museum of Ando designed buildings that harmonize with architecture, nature, and human beings. Among them, Lee Ufan of Lee Ufan Museum is a painter who focused on relationality in particular. In this study, the Lee Ufan Museum was selected as an example. This research focuses on the analysis of their conceptual relationship with the Lee Ufan Museum and the spatial composition that it implemented in architecture. The research methods include literature review, drawing analysis and field trip. Lee"s work trends can be seen to be concentrated on the relationship such as ‘objects-objects’, ‘objects-spaces’, and ‘objects-human beings’. From the perspective of Lee Ufan"s conceptual relationships, the architecture of Tadao Ando can be understood as the relationship such as ‘architecture-exposed concrete(matter)’, ‘architecture-human(moving line)’, and ‘architecture-nature(place)’. Through this analysis, the Lee Ufan Museum is not merely a solo work of Tadao Ando, but a successful case in which two outstanding artists to keep in step together as a collaboration between Ando and Lee.

월사 이정구의 정치적 시련과 시적 표현

이경수 (Lee Kyung Soo) 한국인물사연구소 2011 한국인물사연구 Vol.16 No.-

Wol-Sa Jeong-Ku Lee was a prominent man of writing diplomatic documents and papers during the King Sun-Jo period in Lee's Kingdom dynasty, and he consolidated his critical political subordinate chair while performing proctoral and prime educational ministries. But upon roaring of the new king Kwang-Hae Gun, as his political oppositions north party took leadership, he started to suffer a number of political persecutions and hardships such as Kye-Chook prison death and revolt rumors. Based on these political ordeal background, this paper covers Jeong Ku Lee's poetical themes rooted in his political adversities on three topics. Frist, he expressed condolences and sympathy for the political fellows who had been harassed and persecuted for the similar reasons, and his consistent political idealism and confidence were represented through his compositions. In particular, he mourned his senior political leader Hang-Bok Lee, who had been exiled and died of long endured disease while maintained his consistent political creeds. Second, his poems expressed his regrets and guilty feeling rather than ntagonism against his opponents eventhough he had been persecuted through their ounteractions; he attributed his exiled situations to his innermost reasons rather than other evil wills. Third, his poems delineated his loyalty, faithfulness, and patriotism toward his country and kingdom, and concerns about nation's future. Despite his hardship and persecution, his expressed his political idealism through deep metaphors, and ultimately inspired regrets and harmonies for the entire political rivals.

문화상호주의 공연으로서 < 사천가 >의 각색 전략

이인수 ( In Soo Lee ) 한국연극학회 2016 한국연극학 Vol.1 No.58

지구촌화라는 말이 일상적으로 쓰이는 오늘날 문화상호주의는 공연의 창작방식 중 하나로 자리를 잡았다. 그러나 비서구권의 문화상호주의 공연은 여전히 서구중심적인 문화상호주의 공연의 지형학을 해체하고, 서구의 소비의 대상이 아닌 예술 창작 주체로서 스스로를 실현해야 하는 과제를 안고 있다. 이자람과 판소리 만들기 자의 < 사천가 >는 예술성과 대중성 모두에서 성공한 문화상호주의 공연으로서 21세기 비서구권 문화상호주의 공연 창작을 위한 하나의 모델을 제시한다. 본 논문은 < 사천가 >의 각색 전략에 초점을 맞추어 비서구권 문화상호주의 공연이 당면하는 다양한 문제들을 어떻게 해결하고 있는가를 분석한다. < 사천가 >는 원작과 한국의 문화적 차이를 적극적으로 이용한다. 두 문화 사이의 차이를, 한국사회의 현실에서 당연하게 여겨지는 것들을 낯설게 바라보면서 한국 문화의 독특한 현실과 그 맥락을 더욱 분명히 이해하는 계기로 삼는다. 또한 < 사천가 >는 브레히트가 원작에서 제기하는 주제의 보편성은 작품의 중심에 두되 그것에 얽매이지 않는다. 선이라는 본질적인 미덕조차 의심스럽게 만드는 사회 구조와 환경을 드러내는 과정에서 < 사천가 >는 한국적 자본주의의 역사와 현실을 탐색한다. 더욱이 남성 작가로서 브레히트가 가졌던 가부장적인 사고방식의 한계를 넘어 중심인물의 직업과 구체적인 사회적 조건들을 새롭게 구축한다. 이를 통해 한국적인 성 이데올로기가 현재 한국사회의 여성들의 정체성 인식에 미치는 영향 또한 극 속에 반영한다. 원작이 제시하는 보편적 문제를 시작으로 하여 한국적 현실에 맞닿은 새로운 내러티브를 구성한다. 마지막으로 < 사천가 >는 전통을 현재 속에 살아있게 만들고자 한다. 비서구권 문화상호주의 공연에서 전통이 하나의 이국적인 장식으로 전락하는 예가 종종 있었다. < 사천가 >는 이와는 달리 판소리라는 전통 양식을 새로운 극 형식 실험의 중심에 두고 있다. 브레히트를 현대적 주제의식을 매개로 하여 판소리 고유의 세계관과 형식을 현대 관객들의 일상 속으로 가지고 온다. 이 때 창자 개인의 경험을 바탕으로 관객과의 공감대를 형성하는 것은 < 사천가 > 보이는 중요한 각색 전략 중 하나이다. < 사천가 >는 브레히트의 원작을 각색하는 데 있어서 단순화한 면이 없지 않다. 그러나 문화적 차이를 적극적으로 활용하고, 원작의 보편성을 존중하되 한국적인 특수성을 탐색하며, 전통을 현재 속에 되살리는 < 사천가 >의 전략들은 21세기 문화상호주의 공연의 방향성을 제시한다고 할 수 있다. Globalization has become one of the common terms we use everyday and in this ever changing international environment interculturalism in performance has become one of the general methods to create a new piece. One of the problems theatre artists in the Third world face in terms of interculturalism is that it has been a West-dominated area. Thus they are required to dismantle the geography of interculturalism in which the West is assumed to occupy the center and the rest of the world its periphery and to establish themselves as positive subjects to create intercultural performances on their own terms. Jaram Lee`s Sacheonga, a pansori adaptation of Brecht`s The Good Person of Szechwan, is an intercultural performance acknowledged for both its artistic achievement and popular success. It suggests a creative model for intercultural performance initiated from the Third world. This paper examines and analyzes how Sacheonga adapts Brecht`s original text into Korean cultural context and meets the challenges as an intercultural performance from the Third world. Sacheonga makes the best use of the cultural differences between the two cultures as an opportunity to observe and explore what is considered normal in Korean culture in a different light. Thus it attempts to understand and identify the specificities of Korean culture and where they come from. Sacheonga, while retaining the universal themes found in the original text, is not limited by it. Jaram Lee boldly explores the unique historical context and the presence of Korean capitalism from a critical point of view. She also examines the gender ideology of Korean culture as part of the social environment that affects Korean people`s perception of goodness. In terms of using tradition, Jaram Lee "invents" tradition in the present cultural context of Korea. Instead of using tradition as exotic decoration for the Western audience, Jaram Lee builds her narrative upon the tradition of Pansori in ways Pansori can be newly perceived by Korea audience as part of their everyday lives. It is true that Jaram Lee simplified Brecht`s complex play in some ways. Even so, this paper argues that Sacheonga suggests a creative model for the 21st century intercultural performances from the Third world as Jaram Lee creates a new narrative upon both Brecht`s text and the tradition of Pansori.

갈암 이현일의 생애와 시세계

이경수(Lee Kyung-Soo) 한국인물사연구소 2008 한국인물사연구 Vol.10 No.-

이 논문은 葛庵 李玄逸(1627~1704)의 생애를 3기로 구분하고 각 시기 별로 시 창작의 배경과 작품 내용의 특징을 고찰하였다. 제1기는 50세(1676)까지 在野에서 학문에 전념하던 시기로 형제들과 수학, 독서, 유람하거나 영남남인계 학자들과 교유하면서 시를 창작했다. 이 시기의 작품에는 맑고 깨끗한 정신을 바탕으로 한 경세제민의 원대한 기상이 반영되어 있다. 제2기는 51세(1677)부터 67세(1693)까지로 관직에 나갔다가 물러나기를 반복하며 관직생활과 은둔생활을 한 시기이다. 官界에서 교유한 인물들과의 시는 별로 없고 형제, 영남남인계 학자들과 함께 시를 창작하였다. 관직을 사퇴하고 귀향하고자 하는 심경이나 귀향하여 자연속에 칩거하여 학문에 정진하는 은둔자적 생활을 시로 표현하였다. 제3기는 68세(1694)부터 78세(1704)까지로 갑술옥사로 유배되었다가 귀향하여 별세하기까지의 시기이다. 이 시기의 시 창작은 형제, 아들, 문하생이라는 제한된 범위 내에서 이루어졌다. 시 작품 속에 유배생활의 고통과 불안을 표현하면서도 아울러 역경을 극복하고자 하는 의지를 담았다. 갈암 이현일의 시는 갑인예송 이후 경신대출척, 기사환국, 갑술옥사 등의 정치적 격랑기에 처했던 영남남인계 학자의 생활과 내면세계를 문학적으로 표현한 작품으로서 의의가 있다. This paper devide lifetime of Gal-Am Hyeon-Il Lee(1627~1704) into three periods and investigate characteristics of poem composition and its contents. The first period covers the time that he worked for the poems before he entered the position of government officer at 50 around Yeonghae and Andong in Gyeongbuk Province. During this period, he composed the poems while studying with his brothers or traveling. Or his poems were created while meeting Toegye in Andong. In this period, his works emphasized Confucian ideology and life time obligations, rather than physical achievement or social accomplishment. The second period covers the time that he served as a government position in Seoul at the ages 51~67(l677~1693). While working in Seoul, he socialized Southern Part politicians so called Nam-In and composed poems with them. While exiling from political struggles for he stayed in Andong. in Gyeongbuk Province, and composed the poems while studying with his brothers or traveling, expressing his desire for returning hometown away from the political career. The third period covers the time that he stayed in Andong at the ages 68~74(1694~1704), after having been isolation for political punishment. While staying in Andong, he socialized brothers, sons, his art students, and hometown friends and composed poems with them. During this period, his poem reflected good memories of the Nam-In associates, Overall, Hyeon-Il Lee's poems expressed memories with Nam-In Confucian scholars and companies staying in Yeongnam area.

이용악 시에 나타간 ‘길’의 표상과 ‘고향-조선’이라는 심상지리

이경수(Lee Kyung-soo) 우리문학회 2009 우리文學硏究 Vol.0 No.27

이 논문의 목적은 이용악 시에 나타난 ‘길’의 다양한 표상들을 살펴봄으로써 그의 시가 형성하는 ‘고향’이라는 심상지리를 규명해 보는 데 있다. 이용악의 시에는 초기시부터 후기시까지 일관되게 ‘거리’, ‘뒷골목’ 등으로 표상된 ‘길’이라는 공간이 등장하는데, 그 공간의 성격을 밝힘으로써 이용악의 시를 심층적으로 이해할 수 있다. 이 논문에서는 ‘거리’, ‘뒷골목’등으로 표상되는 공간의 상위개념으로 ‘길’을 설정하였다. 이용악의 시에 등장하는 ‘길’의 다양한 표상들은 그의 내면 공간을 상징하는 동시에, 고향과 일본, 고향과 서울, 고향과 만주 사이의 관계에서 형성되는 ‘고향-식민지 조선’의 심상지리를 구축한다. 이용악의 시에서 ‘길’로 표상되는 일제 말기 ‘고향’의 심상지리는 이용악 시의 원칙을 형성한다. 특히 이용악의 시에서 ‘길’의 표상은 단순히 특정 공간을 지시하는데 그치지 않고 화자의 내면을 드러내는 심리적 공간으로 작용한다. 이용악의 시에 나타난 ‘길’의 다양한 표상들은 이용악 시의 내면 공간을 지칭하는 동시에 조선, 일본, 만주 사이의 관계에서 형성된 ‘고향-식민지 조선’의 심싱지리를 구축하였다. 이용악은 ‘뒷골목’, ‘거리’, ‘고향을 등지거나 돌아오는 길’ 등으로 표상되는 ‘길’ 위를 쉼 없이 걸어오면서 ‘길’위에서 시를 써 온 ‘길’의 시인이다. 그의 시에서 ‘길’의 표상들은 뒷골목으로 대표되는 부끄러움의 내면공간을 거쳐, 일제 말 조선과 일본, 조선과 만주 사이에서 형성되는 공간적 관계에 대한 인식의 확장으로 이어진다. 일제 말 뒷골목으로 대표되는 병적인 태도가 잠시 모습을 드러내기도 하지만, 도회의 개방적 거리를 지향하는 순간 그의 시는 잠시 비판적 균형감각을 잃어버리기도 한다. 그러나 해방과 함께 길은 이용악에게 다시 성찰의 공간으로 기능하게 된다. The purpose of this study was to understand imaginative geography for "home" in Lee Yong-ak's poetry by investigating his diverse representations of "road." There was a space constantly appearing throughout his poems from the early days to the later period, and it was "road" represented by "street" and "back street." All effort to illuminate the space's nature will promote an in-depth understanding of his works. In this study, the investigator picked "road" as the upper concept of space that's represented by "street" and "back street." The diverse representations of "road" in his poems not only represent his internal space, but form imaginative geography of "home-colonized Chosun " that's established between horne and Japan, horne and Seoul, and home and Manchuria. The imaginative geography of "home" during the late Japanese rule is represented by "road" in his works and serves as the origin of his works. The representations of "road" in his poetry, in particular, also function as psychological space to display the speaker's inside in addition to indicating certain space. So far I have examined the various representations of "road" in Lee's poems. The findings show that they refer to internal space in his poems and, at the same time, build imaginative geography of "home-colonized Chosun' that's formed among Chosun, Japan, and Manchuria. Lee can be dubbed as a poet of "road" who wrote poems on the "road" always traveling on the "road" represented by "back street," "street," and , "road to leave home or return to home." In his poetry, the representations of "road" evolve from the internal space of shyness represented by back street into the expansion of consciousness of spatial relations formed between Chosun and Japan and Chosun and Manchuria during the late Japanese rule. Although his pathological attitude represented by back streets made its appearance during the late Japanese rule, he lost a sense of critical balance in his poems for a while the moment he headed for open streets in cities. However, road resumed its function as a space for reflection for him once Korea took back its independence.

GO-62 : Lower extremity edema in patients with endometrial cancer

( Myong Cheol Lim ),( Jeong Seon Lee ),( Jung Nam Joo ),( Sang Soo Seo ),( Sok Bom Kang ),( Sang Yoon Park ) 대한산부인과학회 2012 대한산부인과학회 학술대회 Vol.99 No.-

The objective of this study was to investigate clinical manifestations of lower extremity edema (LEE) in endometrial cancer Medical records for LEE and/or responses to the Gynecologic Cancer Lymphedema Questionnaire (GCLQ) were evaluated in 177 patients with endometrial cancer Patients had a median age of 53 years. Sixty-seven patients (37.9%) had past (9 patients, 13.4%) and/or current patient-reported LEE (58 patients, 86.6%). Symptoms reported on the GCLQ in over 20% of respondents were swelling, numbness, aching , and heaviness. GCLQ total symptoms score was significantly higher in patients with current LEE. Most of the LEE (43/67, 64.2%) developed within 12 months after surgery and LEE lasted more than 6 months in most patients (56/59, 94.9%) Prospective clinical trials are needed to know the clinical significance, impact on quality of life, and preventive strategy of LEE in patients with endometrial cancer

Sicak-ha-ta as an Ergative Verb

Lee, Keon Soo 대한언어학회 1999 언어학 Vol.7 No.2

Lee, Keon Soo.,1999. Sicak-ha-ta as an Ergative Verb. Linguistics 7-2, 77-100. The Unaccusative Hypothesis (Perlmutter & Postal (1984)) and the Universal Alignment Hypothesis (Perlmutter & Postal (1984)) together require that the English verb begin and the Korean verb sicak-ha-ta take the same relational valency. Further, the Little Alignment Hypothesis (Rosen (1984)) requires that the alignment remain invariant for all clauses. However, Bak (1984) claims that, unlike begin, sunk-ha-ta is used transitively in complex clauses whereas ergatively in complex clauses. This paper argues that both begin and sicak-ha-ta respect the above three universal hypotheses, by showing that those two verbs maintain ergativity for all clauses. (Kyung Hee University)

Suppletion in Serial Verb Constructions

Soo-Hwan Lee 한국생성문법학회 2018 생성문법연구 Vol.28 No.3

Lee, Soo-Hwan. 2018. Suppletion in Serial Verb Constructions. Studies in Generative Grammar, 28-3, 449-470. Within the framework of Distributed Morphology (Halle & Marantz 1993), the trigger and target of suppletion interact in one way or another so as to condition allomorphy. By means of scrutinizing the precise motivation as well as the prevention of suppletive allomorphy, numerous approaches have been suggested and adopted in previous literature. Among various theoretical lenses currently available, this paper employs a structural account of viewing suppletion. In doing so, it explores the (in)applicability of suppletive passivization, negation, and honorification in Korean and further investigates the locality conditioning necessary for the trigger and target of suppletion residing within multiple verb constructions in Korean. Depending on whether the locality conditioning is satisfied or not from a morphosyntactic point of view, the (un)availability of suppletive allomorphy follows predictably. For empirical verifications on the theoretical generalization to be put forward, the alternations between, ttayli ‘to hit’ ↔ mac ‘to be hit’, al ‘to know’ ↔ molu ‘to not know’, and mek ‘to eat’ ↔ capswu ‘to eat.HON’ are examined.