한국영화미학에 대한 논의

김수남 청주대학교 예술문화연구소 1998 淸藝論叢 Vol.15 No.-

1. Introduction A discussion on Korean film aesthetics has to be made centering on the identity of Korean film. The reason is that to discuss Korean film aesthetics is to find out the difference between Korean film aesthetics and foreign one and, furthermore, to create the originality of Korean film for the differentiation. To discuss the films of a country is to examine the spiritual and cultural value systems which the films have kept throughout the film history of the country. For the past seventy years or so, Korean film had a hard time, which prevented it from establishing its spiritual and cultural value systems. Examining the historical background of Korean film, we can find it was originated from foreign culture which was imported with other genres of modem culture from the West. Unlike other genres such as literature, music, fine arts and the theatre, the cinema was not produced soon after being imported. So, the history of Korean film-making is shorter than that of presentation. In the early days of modernizing our culture, we accepted and transplanted modem culture to ours through the imitation of foreign culture. As for the cinema, the spiritual and cultural transplantation was made only through the appreciation of foreign films. Korean film-making started poorly due to lack of capital, but was in active cooperation with other contiguous genres of culture. For a kino-drama(a screen-and-stage play), the cinema was a supporter of the theater. In the silent picture days, it depended on literature, in that traditional stories of ancient times provided the cinema with its peculiar forms and affluent contents. Many of the works of Nah, Woon-kyu, a pillar of the Korean film circle in the early days, were related to literary works. After that, Korean film accomplished a great development in terms of technology, but the simplicity of dramatic plot led to the poor content. As poorly circumstanced for the perfect accomplishment of the beauty of form, we needed to strengthen the content, but, our realities were not good enough. The audience were indifferent to the beauty of form of a film. They were swayed by its story. As goods, a film was an object of entertainment, and a means to public relations or propaganda. Controlled by capital and the masses, the cinema is inevitably restricted by social circumstances and the level of the masses. In spite of all, however, we have to realize that the cinema is a genre of culture and arts. In short, Korean film has to show the cultural and spiritual identities of Korean people in consideration of all problems related to capital and technology in our realities. For that reason, a discussion on Korean film aesthetics has to start from the questions which films were manufactured and which films will have to be manufactured. 2. The Beginning of Korean Film Aesthetics In the early days, most of the Korean silent pictures were adapted from classical Korean novels or third-rate Japanese novels. Surprisingly, however, film reviews pointed that our classical novels were not fully understood in those days. Then Korean film personalities did not have a good understanding of the manners and customes of the Choson Dynasty Period and the Old Choson Period which they dealt with(a review of Story of Shim-cheong, Maeil Newspaper, Apr. 3, 1925). On the contrary, The Long Regretful Dream, adapted from a Japanese novel, was commented better than poor Korean films(Maeil Newspaper, Mar. 21, 1926). The two works, mentioned above, were made by the same Korean director. Nevertheless, the reviews of them show one with a Korean theme is poorer than the other with a Japanese theme. It is quite meaningful; In the beginning stage of film-making, Korean film personalities neglected our spiritual and cultural identities. Such an attitude is shown in Nah, Woon-kyu's Arirang, the starting point of Korean realistic film. As a whole, Arirang is a noteworthy work, in that it depicts the realities of then Korean rural communities. However, excessive exaggeration and unrealistic description break the dramatic harmony. Another problem is that the love scene is not in a Korean style, so distorts the emotion of Korean people(Choson Daily Newspaper, Oct. 1, 1926). After some years, Nah, Woon-kyu wrote that he had tried to express our people's emotion(Samcheonri, Jul. 1930, "Arirang, Society and I"). But he reversed his previous insistence to confess that he 'mimicked a foreign film' in another writing(Choson Film, "When Making Arirang", Nov. 1936). Finally, Nah, Woon-kyu has made a conclusion of Arirang; He says that he feels ashamed of imitating the form and content of foreign films in order to attract the audience's attention although he wanted to express 'the emotion of Korean people'. On the contrary, Lee, Kyu-hwan's The Ferryboat With No Ferryman, a Korean localistic film, was favorably commented by critics that it showed 'a model of Korean populace'(Dong-ah Daily Newspaper, Sep. 15, 1932). It was also criticized for only having conflicts, not struggles(Maeil Newspaper, Sep. 15, 1932). As examined above, Na, Woon-kyu's and Lee, Kyu-hwan's films were evaluated to show relatively well the spirit of Korean film in those days. During the period of Japanese imperialism, most of Korean films were adapted from classical Korean novels and third-rate Japanese novels. In this circumstance, the two directors attempted to establish a true view of Korean film to represent Korean people's feelings. It was the starting point of Korean film aesthetics. The problem is to deduce a film from a printed material, the secondary one, not to examine closely into its form which includes its content by watching the film itself. Let's take Arirang, which is said to try employing the montage technique first in the Korean film history, as an example. It shows the realism of Korean film puts story higher than image. The reason is that montage is a characteristic of anti-realistic films. Accordingly, we can guess that Lee, Kyu-hwan's The Ferryboat With No Ferryman and Choi, In-kyu's A School Fee, which follow the realism shown by Nah, Woon-kyu's Arirang, were categorized into literary realism where the content attains superiority over the form. The Korean realistic films are divided into two trends. One of them is KAPF film which urges on 'the films as arms' and whose first work was Wandering (1928) by Kim, Yoo-young. However, as losing amateurism and popularism, it had not been mentioned until popular film appeared in the 1980's. Characterized by popular arts, the films cannot discuss the general theory of film aesthetics which targets a small number of specific groups or film mania. 3. The Tradition of Korean Film Since the birth of Korean film, Korean film aesthetics has been based on realism. As mentioned above, the realism of Korean film pursued the realism of literature, rather than being influenced by foreign realistic films. Above all, Korean film followed critical realism which was discussed actively in literature. So, the spirit of realism in Korean film was controlled by a critical point of view that deals with Korean people's deplorable life and the disadvantaged classes during the period of Japanese imperialism. This point is quite different from the current of foreign film at the same period. German expressionistic film, which depicts the realities from a subjective view-point getting out of naturalism or realism, French experimental film, which emphasizes the visualization of a film giving priority to form over content, and Soviet montage film, which emphasizes content but put more importance on form, developed foreign film while struggling for mastery in film aesthetics. Influenced by critical realism, we established the tradition of Korean realistic film from Nah, Woon-kyu's Arirang through Lee, Kyu-hwan's The Ferryboat With No Ferryman and KAPF-style tendency film in the 1930's, Choi, In-kyu's A School Fee in the 1940's and Han, Hyong-mo's Free Madam in the 1950's to Yoo, Hyon-mok's A Aimless Bullet in the 1960's. Such a critical attitude of Korean film has been consistently urged and continued up to the 1990's getting through the 1970's and the 1980's. The tradition of Korean film is critical realism led by Nah, Woon-kyu―Lee, Kyu-hwan―Choi, In-kyu before the Liberation and Yoo, Hyon-mok―Lee, Man-hee―Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon―Bae, Chang-ho―Park, Kwang-soo, Chang, Seon-woo after the Liberation. New directors in the 1990's are participating in this line. Kim, Ki-young's expressionistic realism and Kim, Soo-yong's modem-style realism were not recognized properly. Although Yoo, Hyon-mok made noteworthy expressionistic or modem-style films, and Kim, Ki-young and Kim, Soo-yong also made noteworthy critical realistic films, Korean film critical circles neglected them. Here, we need to change our prejudice of regarding critical realism as the only spirit of Korean film and the only attitude for Korean film-making. It is urgent to change our thought to re-establish the tradition of Korean film. First, we have to re-evaluate various works by the leading directors in the 1960's. We have to find that the various identities of the times were represented by such films getting out of critical realism as Shin, Sang-ok's historical drama, The Guest and My Mother(1961), A Red Muffler(1964), and A Thirteen-Year-Old Boy(1974), Hong, Seong-ki's A Star In My Mind(1958), and When Youth Goes Into the Night(1964), Yoo, Hyon-mok's A Spring Dream(1965), The Visitors Coming By the Last Car(1967) and A Door(1977), Kim, Ki-young's A Housemaid(1960) and Hyonhaetan Knows Everything(1961), Kim, Soo-yong's A Dried Corvina Fish (1963), A Fog(1967) and A Night Trip(1977), and Lee, Man-hee's Dial 112 (1962), The Marine Corps That Did not Return(1963) and A Return Trip(1967). We will be able to find out the tradition of Korean film when we investigate with a new critical way of thinking how Korean film perceived and accepted modem images and changes in tradition and modem everyday life, and represented Korean people's feelings for various materials. Now, I suggest that we should re-establish the lineage of Korean film classified into Kim, Soo-yong's modem realism, Yoo, Hyon-mok's critical realism and Kim, Ki-young's expressionistic realism. Such a systemization will be effective in establishing the various branches and trends of Korean film, and understanding its spiritual and cultural identities. It is also useful to get rid of all confusions to systemize Korean film aesthetics. 4. A Study on Korean Film Aesthetics The cinema keeps a closer relationship with the masses than any other arts dealing with the human problems. In any society where men live, there always exist conflicts and oppositions. Realism is preferred in order to settle them. Therefore, it is inevitable that realistic films are loved as social conflicts come up to the surface. The opposed situation is possible, too. The conflict shown in Nah, Woon-kyu's Arirang is a story of long times ago. Also, the obstacle which Yoo, Hyon-mok's A Aimless Bullet and Lee, Man-hee's Seven Women Captives could not overcome have been removed. The new age of the 1990's, when Chang, Seon-woo's Send Me To You gains public favor and Im, Sang-soo's Girls' Night Out becomes the talk of all, is closing. With the 21st century coming soon, Korean film aesthetics is confused and exposed to the random invasion of foreign culture. Deplorably, Korean film is poisoned seriously by foreign culture and does nothing but managing to retain its life in film-making itself. It may be meaningless to examine Korean film aesthetics in this circumstance, but we need to grope for the rebirth of Korean film aesthetics by finding again out our spiritual and cultural identities in preparation for film culture of the 21st century. Wagner's theory of arts is still true; The form of total arts does not change, however its style does. The problem of Korean film aesthetics is that changes in the style of films have been influenced by the acceptance of foreign culture, rather than the development of the intrinsic legacy in our tradition. The tradition of Korean culture must be found in mask dance which dealt with common people's joys and sorrows of life, not in aristocratic culture. 'Taedongkut', which was regularly performed with the consciousness of a community, was both a ritual for a good harvest and the peace of a village, and the lower classes' resistance against the ruling classes. Its content was the resistance to the realities and expression was in satiric symbolism. However, the modernization of culture drove out the essence of our traditional drama and developed the dramatic form with only story borrowed. In Nah, Woon-kyu's Arirang, the consciousness of resistance is our tradition and the montage technique is a symbolic satire. After Arirang, the base of Korean film aesthetics is generalized into realism which the content conforms to the form. In traditional Korean arts, however, the content is inconsistent with the form. It is influenced by Confucianism, and caused from the modesty and submissiveness of Korean people. Although getting the feel of their deplorable realities with skin desperately and directly, they are satisfied with expressing them in an indirect way. Therefore, it is most suitable for Korean people's emotion that the realistic content is represented in an expressionistic style. But, our reality is the direct opposition. Accepting modern culture, our consciousness started to be westernized. As a result, we pursued the amusing quality, rather than the essential goal of our traditional drama. Moreover, the materialistic function of camera naturally led us to prefer to realistic expression and the critical circles followed blindly the western theories of realistic film to square content and form. At this very point, Korean film aesthetics began to go astray. In case of the films, which cannot accept the consciousness of a community directly unlike performing arts, however, long take, a realistic technique of camera, may be considered. Long take is a way to lead the audience to watch a film actively and the active attitude for film appreciation can enhance the consciousness of a community. So far, I have examined the origins of the Koreans' spiritual and cultural identities, and pointed out the essential problems of Korean film aesthetics. The tradition of Korean film aesthetics, which started from Nah, Woon-kyu's Arirang, led to literary realism, which put superiority on the critical realistic content urged by KAPF film, resisting the conflicts of the times. In the meanwhile, in Yoo, Hyon-mok's A Aimless Bullet, filmic realism putting superiority on the form was introduced from neo-realism. Critical realism continued by Lee, Man-hee, Lee, Jang-ho, Ha, Kil-jong, Kim, Ho-seon, Bae, Chang-ho, Park, Kwang-soo, Chin, Yoo-young, Yeo, Kyun-dong and Kim, Hong-joon has been widened to Kim, Soo-yong's modern realism and Kim, Ki-young's expressionistic realism by Park, Cheol-soo, Chung, Ji-young, Chang, Kil-soo, Chang, Seon-woo, Kwak, Ji-kyun, Shin, Seung-soo, Lee, Myong-se, Park, Jong-won, Kim, Yoo-jin, Kang, Woo-seok and Hong, Sang-soo. In this turmoil, Yim, Kwon-taek has been the mainstay which firmly supports the Korean films. Besides, there are such important films which show Korean images to represent the emotion of Korean people as Bae, Yong-kyun's Why has Bodhi-Dharma Left for the East?, Paek, Il-seong's In a Handful of Time and Lee, Kwang-mo's Spring in My Hometown. We also must not overlook Lee, Jang-ho's The Man with Three Coffins which quite clearly reveals one aspect of our identity through the ideological conflicts in the continuously flowing stream of the traditional spirit. 5. Conclusion Getting through the 1990's, the ideology has clearly changed. The Cold War has closed a long time ago and the ideological conflict between the South Korea and the North Korea is getting soften more and more. Also, the problem of filmic expression conflicting keenly with ideology seeks for changes intrinsic formal aesthetics, getting out of the content-superior age when a film was evaluated only with subject matters and themes. Such a change has to start from the accumulation of the inherent spirit and philosophy in our tradition. The problem is that changes are made by imported culture rather than the legacy intrinsic to our tradition. Reflecting the biased inclination of Korean film to critical realism, I would like to come to the front other streams of Korean film. The language, action, color, fashion and design, which have to keep our emotion, have already been westernized. As the policy for film promotion is bent on making films, our cultural spirit is controlled by capital to become like a losing child of unknown nationality. For this circumstance, we do not know where we can find out Korean spirit and culture however strongly we may try to emphasize them in the films. I strongly insist that it should be problematic to discuss on Korean film aesthetics only with the content and form of the present Korean films. It is desirable to examine ourselves in the past films, which are less contaminated by foreign culture, to re-find to discuss on our film aesthetics. Until that time, we cannot grope for an alternative measure to establish the identity of Korean film aesthetics.

김유진 감독의 충무로영화관 논의

김수남 ( Su Nam Kim ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.2

Dir. Kim, Yujin has maked various genre film. This thesis try to study on the view of Kim, Yujin`s film works in the Chungmuro film world. His film world has pursued the value of Korean film which tried to show His works to watch ordinary life and represented the popular entertainments. The real life of Kim, Yujin`s film`s makes his audience to feel the outside world of ordinary life. By his filmography his main filn are belong to realism works except <Singijeon>. His film works are divided Three part by making film period such as the first period, the middle period and the last or the new beginning period. In the first period his film images are shoot by longtake and theatrical blocking better than shot frame because of his theatical directing experience. as the result he directs his film to show the extremism ensemble image represented. His debut`s film, <Song for hero>was very enought to demonstrate a new director appeared. In the middle period his important film are <Danji geudaega yeojaraneun iyumaneuro>, <yaksok>. Those films are noticed dir. KIm`s thought for Korean Chungmuro film. His film making style is continued to the last period. <Wild Card>, <Singijeon> shows dir. Kim`s style and his creative technique by try to make new film image. We can find his responsibility for Korean film audience and Chungmuro film. Dir. Kim, Yujin`s film idea and directing style is arranged by three parts. The first, he pursued for making entertainment and social issue. The second, his social film shows very simple and turly points. The third, he has instinct will to represent the identy of Korean film. By above mention it is very difficult to determind Dir. Kim, Yujin`s film world. Anyway his instinct idea which has made various film genre creates his dream world to make ordinary peoples`s peace and happiness life. In this point Dir. Kim, Yujin is always important director of Chungmuro film.

조선영화 여배우론

김수남 청주대학교 학술연구소 2007 淸大學術論集 Vol.9 No.-

It is hard to definite when film actress appeared in Chosun film. But it is big topic to performance on the stage or film in 1920's. At the time woman was active as a actress very difficult because of Confucian moral to limite woman's social activity. Eventhough a Woman is to be actress, her life of actress was very short. In the theatre and film world of Chosun it is known that the first actress is Kim, Sojin and the first film actress is Lee, Weolhwa who is main cast of 〈Swear under moon〉(월하의 맹세) in 1920's. But the other first film actress is Ma, Hojeong who is main cast of 〈Life's Foe〉(인생의 구). In 1920's the audience are very interested in film star. In the result the first actor's school was founded in 1925 on Jan. This school had produced many important actor and actress in Chosun film. I can check and arranged over 50 actress in the document of Korean film history. In this thesis I introduced the most important actress to divided four part - the first period of 1920's, after 〈Arirang〉, after appeared sound film and, the period of pro japanese film. There are Ma - hojeong, Lee- Wolhwa, Lee - Caejeon, Kim - Uyeon, Kim - Sojin in the first period of 1920's chosun film and Shin - Illsun, Kim - Jeongsuk, Bok - Hyesuk, Kim - Yeonsil, Jeon - Ok, Kim - Soyeong, Yu - Shinbang, Kim - Seonyeong, Mun - Yeoibong after 〈Arirang〉 and Hyeon - Bangran, No - Jaeshin, Hyeon - Sunyeong, Seok - Kumseong, Kim - Shinjae, Han - Eunjin, Yu - Kyeoisun after sound film and Yun - jeonran in the period of pro japanese fim. And the last of study I discuss a style about actress follow each character.

김기덕 감독의 영화인생과 작품세계 고찰

김수남 ( Su Nam Kim ) 한국영화교육학회 2007 영화교육연구 Vol.9 No.-

In 1990`s Kim Sunam`s new idea for auteurism, ``Korean auteurism`` has very useful to find real Korean director who has made Korean film in different condition from western film world. Western auteurism firstly emphasizes consistency style in the result Km, Keeduk is excepted from the group of auteurism. But we can find his auteurism by discussing his film`s theme and spirit of his film work. He was born in rich and he lives without difficult for living but he has big suffering because of shocking from 6.25 War in 1950. This shocking was often appeared in his film such as <Oineuihabyoung>(1961), <Namgwabuk> (1965) etc. He often said that he want to make comedy film such as Billy Wild`s <The Apartment>. But he determinds that it is easy to make melodrma better than comedy in Korean film world situation. He has made almost 100 film works(including editing works) and created a few new genres. His 76 film works has various film genre(16 part genre). His various melodrama and other genre films show to interesting in the humanism and the social reality. We can arrange his film,s character and contents in three part. First, his films shows the spirit of victim. Second, his films stress the pain of divided country. Third, his films express his will for social education and humanism. For this discussion I study on director Kim`s view of life and his film work`s world. I choose four films such as <Oineuihabyoung>, <Maenbaleuichongchun>(1964), <Namgwabuk>, <Daegoisu Younggari> (1967) to study for director Kim`s film world. In the result I can conclude that director Kim`s film works shows the pursuit of humanism which is his film theme`s consciousness.

견운모의 고품위화 정제에 관한 연구

김진호,김경남,박현,김남수 三陟大學校 産業科學技術硏究院 2005 産業科學技術硏究論文集 Vol.10 No.-

In this study which it sees for the development of beneficiation technique of the sericite raw materials at the clay for the removal of a iron and separation of quartz hydrocyclone with the high intensity magnetic separator it introduced in beneficiation process. The characteristic analysis of the raw materials and the beneficiation sericite were investigated by the X-ray Fluorescence Spectrometer(XRF), X-ray Diffractometer(XRD), Scanning Electron Microscope(SEM), Thermal Gravimetic-Differential Thermal Analyzer(TG-DTA) and Paticle Size Analyzer(PSA). The iron content(0.91wt%) and mean particle size(3.55μm) were decreased by the hydrocyclone, high intensity magnetic separator and spray dryer, respectively.

유명산의 식물상 및 산림군락분류에 관한 연구

김흥식,김인수,홍금희,김남영,박광서,김정유,박완근 江原大學校 森林科學硏究所 2003 Journal of Forest Science Vol.19 No.-

2002년 3월부터 2003년 10월까지 유명산 자연휴양림을 대상으로 식물상과 산림군락구조를 조사한 결과, 관속식물이 98과 331속 570종 1아종 81변종 4품종 2교잡종으로 총 658종류로 나타났으며, 한국특산식물은 10과 14속 13종 2변종 1교잡종 총 16종류. 희귀 및 멸종위기식물은 9과 10속 11종 총 11종류, 귀화식물은 12과 22속 28종 총 28종류로 나타났다. 산림군락은 신갈나무-철쭉군목, 신갈나무-생강나무군단, 소나무-산거울군락, 잣나무-주름조개풀군락, 물푸레나무-신갈나무군락, 층층나무-신갈나무군락, 굴참나무-신갈나무군락, 싸리-신갈나무군락으로 전체 1군목, 1군단, 6군락이 분포하는 것으로 나타났다. The study was carried out to investigate the flora and community classification of forest vegetation in Mt. Yumyeong from March, 2002 to October, 2003. As a result of that, the vascular plants were 98 families, 331 genera, 570 species. 1 subspecies, 81 varieties, 4 formae, 2 hybrid, 658 taxa in all. Korean endemic plants were 10 families, 14 genera, 13 species, 2 variaties, 1 hybrid. 16 taxa in all ;, rare and endangered plants were 9 families, 10 genera. 11 species, 11 taxa in all ; naturalized plants were 12 families, 22 genera, 28 species, 28 taxa in all. The forest vegetation was classified into 1 order, 1 alliance. 6 communities : Rhododendro - Quercetalia mongolicae (Kim, 1990) Lindero - Quercion mongolicae (Kim, 1990) A. Carex humilis var. nana - Pinus densiflora Community B. Oplismenus undulatifolius - Pinus koraiensis Community C. Fraxinius rhynchophylla - Quercus mongolica Community D. Cornus controversa - Quercus mongolica Community E. Quercus variabilis - Quercus mongolica Community F. Lespedeza bicolor - Quercus mongolica Community

당뇨병 환자에서 혈장 Thrombin-Antithrombin Ⅲ 및 Plasmin-α_2-Plasmin Inhibitor 복합체의 임상적 의의

김경욱,김은숙,정상수,윤수지,박우일,이준희,남수연,안철우,문병수,김경래,차봉수,송영득,임승길,이현철,허갑범 대한당뇨병학회 2002 Diabetes and Metabolism Journal Vol.25 No.5

연구배경:당뇨병 환자에서 혈액응고 및 섬유소용해 체계의 이상경향이 있어 그 결과로 여러 혈관합병증의 발생위험이 높다는 사실은 널리 알려져 있다. 그 기전은 아직 확실히 밝혀지지 않았으나, 고혈당으로 인한 혈장 단백질들의 비효소성 당화작용이나 산화성 스트레스로 인한 유리 라티칼 작용으로 응고항진이나 섬유소용해 활성의 저하를 유발하는 것으로 생각되고 있다. 최근 응고 및 용해인자와 그 억제자의 복합체들의 증가가 이 상태를 비교적 예민하게 반영한다고 알려져 있다. 방법:본 연구에서는 당뇨병 환자 101명과 정상 대조군 20명에서 혈장내 thrombin­antithrombin complex(TAT)와 plasmin­α₂­plasmin inhibitor complex(PIC)를 측정하여 비교하고, 당뇨병 환자에서 미세혈관 합병증과 대혈관합병증의 유무에 따른 차이와, 이미 혈관 질환의 위험인자로 알려져 있는 인자들간의 상관성을 알아보고자 하였다. 결과:1. 환자의 분포를 살펴보면 혈관합병증이 있는 군은 85명, 혈관합병증이 없는 군은 16명이었고, 평균연령은 각각 57.9±14.1세, 49.9±16.6세로 혈관 합병증이 있는 군에서 더 나이가 많았고, 체질량지수는 23.2±3.4㎏/㎡, 24.1±3.4㎏/㎡로 두 군간 유의한 차이는 없었다. 또 두 군간의 혈압 및 HbA1c, 공복혈당 및 인슐린과 C­peptide, 총 콜레스테롤, 중성지방, HDL­콜레스테롤, Lp⒜는 유의한 차이가 없었고, 미세혈관합병증이 있는 군에서 당뇨병의 유병기간이 길었다. 2. TAT 및 PIC의 농도는 정상 대조군에서는 2.8±1.2 ng/mL, 240.4±69.7 ng/mL이었고, 당뇨병 환자군에서는 9.5±22.6 ng/mL, 472.2±258.7 ng/mL이었다. TAT와 PIC 모두 당뇨병 환자군에서 정상 대조군에 비해 유의하게 증가되어 있었고(p<0.001), TAT/PIC ratio는 두 군간 차이가 없었다. 3. 당뇨병 환자의 혈관합병증에 따른 TAT 및 PIC, fibrinogen 농도는 합병증이 없는 군은 각각 4.1±2.4ng/mL, 362.2±272.0ng/mL, 322.7±102.4mg/mL으로 PIC와 fibrinogen의 증가를 보였으나, 연령을 보정한 후에는 통계학적 유의성은 없었다. 또 대혈관 합병증군에서는 각각 6.0±4.9 ng/mL, 507.4±321.6 ng/mL, 427.1±194.7 mg/dL이었으며 미세·대혈관 합병증군에서는 10.4±6.4 ng/mL, 484.8±269.7 ng/mL, 388.4±132.4 mg/dL으로 TAT의 증가를 보였으나 역시 연령을 보정한 후에는 통계학적 유의성은 없었다. 4. 미세혈관합병증군에서 HbA1c(>8%)가 높은 군의 PIC 농도가 유의하게 높았고(p=0.049), 대혈관합병증군에서 HbA1c(>8%)가 높은 군의 총 콜레스테롤 농도가 유의하게 높았다(p=0.042). 5. 총 당뇨병 환자군에서 PIC는 fibrinogen과 HbA1c와 양의 상관관계를, BMI와 음의 상관관계를 보였으며(r=0.47, 0.31,-0.25), 혈관 합병증이 없는 당뇨병 환자군에서만 TAT는 HbA1c와 양의 상관관계를 보였다(r=0.67). 결론:이상의 결과에서 혈장 TAT 및 PIC 농도는 당뇨병 환자에서 정상 대조군에 비해 의미있게 증가되어 있었고, 당뇨병 환자군에서는 연령의 증가와 유병기간이 혈액응고항진 및 용해의 장애에 큰 역할을 함을 알 수 있었으며, 총 당뇨병 환자군에 PIC와 HbA1c와 양의 상관관계를, BMI와 음의 상관관계를 보였으며 혈관 합병증이 없는 당뇨병 환자군에서만 TAT는 HbA1c와 양의 상관관계를 보였다. 따라서 당뇨병 환자에서 혈액응고 및 용해의 장애가 동반되어 있다고 볼 수 있으며, 혈장 TAT 및 PIC는 혈관합병증으로의 진행을 예측하는 지표로서 유용하리라 생각된다. 또 혈당조절정도와 상관성이 있으므로 혈당조절후에 추적검사를 시행하여 합병증의 예방이 가능한지 추후 연구가 필요하리라 생각된다. Background : Abnormality of coagulation and fibrinolystic system is known as a predisposing factor of vascular complication in diabetes. Although the pathogenesis is not well known, non-enzymatic glycation reaction and the increase in production of free radicals due to an increased oxidative stress may be linked to the hypercoagulibility and hypofibrinolytic activity. As indices of abnormality in coagulation and firinolysis in peripheral blood, plasma thrombin-antithrombin Ⅲ complex (TAT) and plasmin-α_2-plasmin inhibitor complex (PIC) were measured. The purpose of this study was to clarify whether hypercoagulability exists in diabetic patients with or without vascular complication. Methods : In our study, we measured plasma thrombin-antithrombin Ⅲ compelx (TAT) and plasmin-α_2-plasmin inhibit or complex (PIC) in 101 diabetic subjects and 20 controls. Comparing TAT and PIC levels in diabetic microvascular complication group, diabetic macrovascular complication group and controls, we examined correlation between risk factors associated with diabetic vascular complication. Results : 1. The group with diabetic vascular complication was older than group without complication. There was no significant difference in BMI, blood pressure, HbA_ic, blood sugar level, insulin, C-peptide, serum creatinine, total cholesterol, triglyceride, HDL-cholesterol, Lp (a) between two groups. The group with diabetic microvascular complication had longer duration of diabetes. 2. Concentration of TAT and PIC were 2.8±1.2 ng/ mL, 240.4±69.7 ng/ mL in controls and 9.5±22.6 ng/ mL, 472.2±258.7 ng/ mL in diabetic patients, respectively. TAT and PIC were significantly higher in diabetic patients than in control (p<0.001). But TAT/PIC ratio was no significant difference between two groups. 3. In diabetic patients, concentration of TAT and PIC and fibrinogen were respectively 4.1±2.4 ng/ mL, 362.2±272.0 ng/ mL, 322.7±102.4 mg/ dL in group without vascular complication and 5.3±4.1 ng/ mL, 529.5±258.7 ng/ mL, 374.9±106.2 mg/ dL in group with microvascular complication, which group had increase in PIC and Fibrinogen but no significance after correction of age. Concentration of TAT and PIC and Fibrinogen were 60.±4.9 ng/ mL, 507.4±321.6 ng/ mL, 427.1±194.7 mg/ dL in macrovascular complication, and 10.4±6.7 mg/ mL, 484.8±269.7 ng/ mL, 388.4±132.4 mg/ dL in combined vascular complication which group showed increase of TAT but also had no significant increase after correction of age. 4. In diabetic microvascular complication patients, group of high HbA_1c (>8%) (p=0.049) had significant high PIC concentration. In diabetic macrovascular complication patients, group of high HbA_1c (>8%) (p=0.042) had significant high total cholesterol concentration. 5. In all diabetic patients, PIC was positively correlated with fibrinogen and HbA_1c and negatively correlated BMI (r=0.47, 0.31, -0.25). Only in daibetic patients without angiopathy, TAT was positively correlated with HbA_1c (r=0.67). Conclusion : In this study, plasma TAT and PIC concentration significantly increased in diabetic patients compared with controls, and PIC was increased in group with microvascular complication, TAT were increased in group with combined micro macrovascular complication. However, there was no significance relationship existed when correctinf for age. PIC was correlated with HbA_1c. TAT was correlated with HbA_1c only in the group without angiopathy. Abnormality of coagulation and fibrinolysis were combined in diabetes, plasma TAT and PIC can be used as an index of vascular complication. Also we found the correlation with the degree of the blood glucose control. Therefore we need follow up study for the possibility of prevention of vascular complication after controlling the blood glucose to age-matched patients (J Kor Diaabetes Asso 25:354~363, 2001).

자료포락분석(DEA)를 이용한 보건의료의 효율성 측정

김남송,박홍섭,김은진,김설화,김정숙,김현아,김경숙,신지혜,최은정,양은진,유선미,유수진 圓光大學校 醫科學硏究所 2007 圓光醫科學 Vol.22 No.1

새로운 俳優術 訓鍊을 위한 김수남 肉體訓鍊 시스템

金壽南 청주대학교 예술문화연구소 1989 淸藝論叢 Vol.3 No.-

There are many problems which are not able to explain logically in the process of creating an art. Especially, the process of creating the art of acing has an another characteristic point as compared with the other art. which is the dualism of the art of acting. It is that the actor in himself is the subject for the expression of acting and also the media for that. Factually, when we have researched into the history of acting we will find that the essence of the acting theory is the issue for emphasis on the role of the subject or that of media to express acting. From this viewpoint if we comment on the Korean acting system, we have no answer. Because in Korea we haven't had any acting system or any systematical method for actor's training and also we have had no study on them. So now, I will suggest the new body training system for Korean actor's training. Forward I will introduce my actor's training systems, which is divided into two part training system. One is the training for the development of personal talent and the other is that of the emphasis on the expressing acting as a media. In this study I will solve the following problems through the training for my new acting system. First, What is main factors to interfere with actor to performance and how do we get rid of them. Second, I am asking not only what and how the actor is, but also who and why he is. This study is very real economic and effective challenge to develope the new acting system for Korean actors. The discussion is organized into four parts : the first gives the real purpose and direction to the study ; the second traces the development of one contemporary idea of acting through representative twentieth-century figures (Stanislayski, Meyerhold, Vakhtangov, Brecht, Artaud, Grotowski, Beck and Malina) ; the third introduces the new training system for actor, so called Kim, Sunam's Body Training System. Kim's system is consisted of three sections for breathing training. The breathing training is based on the Korean unique method for breathing, so called 'Danjonhoheup'. The first step shows how to breath. In the second step we train the correcting pose, the physical exercise for acting and the Korean style tumbling. The third step is the training for vocal, resonator, tempo and rhythm, the segregation of body part, the changing of the facial expressions and the meditation for the concentraition of attention. All above training steps are based on 'Danjonhoheup'. The last part is a conclusion which refer to result of training for the new acting method by Kim, Sunam's body training system for Korean actors.

혈우병 환자의 임상 양상에 관한 단일기관 연구

허지혜,김형욱,김영대,이영호,김남수,설인준,김상우 인제대학교 2006 仁濟醫學 Vol.27 No.-

Objective : We analyzed and investigated clinical manifestations, laboratory tests, and inhibitor development of hemophilia that had not been thoroughly studied. Methods : We retrospectively reviewed 96 patients with hemophilia who were registered in the Hanyang University hospital from Jan, 1984 to Dec, 2003, Results : The total patients, whose median age at onset was 46.0 months, in clude 84 cases of type A (87.5%) and 12 cases of type B (12.5%). The most common chief complaint was a traumatic hemorrhage. The family histories of hemophilia were revealed in 41 cases (42.7%). The median activated partial thromboplastin time (aPTT) was 66.7 seconds. The number of severe cases was 39 (40.6%). Inhibitors were present in 13 cases (13.5%) and seven cases (53.8%) were high responders. aPTT and factor levels showed reverse correlation (r=-0.467). aPTT is more prolonged in group without family history than the group with family history (P=0.037). Conclusion : In this study, the diagnosis of hemophilia are made at the lower age and the serological positivity of the HCV is decreased. Activated partial thromboplastin time and factor levels shows reverse correlation. Activated partial thromboplastin time is more prolonged in group without family history compared with group with family history. The frequencies of family history are lower than those of other developed countries, because of concealing the family history of hemophilia. The prevalence of the development of inhibitors increased compared with those of previous studies in Korea, but was lower than those of other countries. Further studies would be necessary to decrease the inhibitor development.