http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 강희정(Kang Hee Jung) (검색결과 197 건)
- 무료
- 기관 내 무료
- 유료
-
강희정,김익천,김진회,손원근,이두식,Kang, Hee-Jung,Kim, Ik-Chun,Kim, Jin-Hoe,Son, Won-Geun,Lee, Du-Sik 대한수의학회 2001 大韓獸醫學會誌 Vol.41 No.4
Microorganisms were isolated and identified from bovine 296 quarters which showed positive reaction by California Mastitis Test (CMT) in 40 farms of Jeju from September 1999 to June 2000. The organisms associated with the mastitis of bovine were 11 different bacterial species in this study. Which of them, Staphylococcus aureus was the most predominant species as 152 (51.4%) isolates. Other identified species included 49 (16.5%) coliform, 47 (15.8%) Streptococcus dysgalactiae, 15 (5.1%) Bacillus spp., 8 (2.7%) Staphylococcus epidermidis, 6 (2.1%) Streptococcus agalactiae, 5 (1.7%) Enterococcus faecalis, 5 (1.7%) Corynebacterium spp., 3 (1.0%) Streptococcus uberis, 1 (0.3%) Pseudomonas aeruginosa and 1 (0.3%) Pasteurella haemolytica. Almost of all the islolated beacterial species showed high sensitivity against kanamycin (98.6%), cephalothin (98.0%), streptomycin (94.9%), gentamicin (94.6%), ampicillin (92.2%) and polymyxin B (90.2%). On the contrary, they showed resistance against penicillin (47.0%), tetracycline (37.2%), cefazolin (26.0%), bacitracin (22.6%) and erythromycin (19.9%). Eighty-one isolates were not resistant to any antibiotics and 215 drug resistant isolates showed 89 different drug resistance patterns from single to nine multiple antibiotics resistance patterns.
-
-
강희정(주저자) ( Hee Jung Kang ),강희정(교신저자) ( Hee Jung Kang ) 디자인융복합학회 2015 디자인융복합연구 Vol.14 No.6
세계적으로 창업의 중요성이 강조되고 있지만, 국내 디자인 분야의 경우 디자인전문회사의 공급과잉 상태로 가격 경쟁 격화, 저가 수주 만연 등 다양한 문제들이 발생하고 있다. 본 연구는 디자인창업자들의 현실적인 문제점을 파악하여 국내 디자인창업 현황에 대한 이해를 확장하고자 하였다. 연구목적을 달성하기 위하여 첫째, ``디자인창업 동기는 무엇인가.`` 둘째, ``디자인창업을 하는데 있어 애로 사항은 무엇인가.``로 연구 문제를 설정하였다. 연구 방법으로는 질적 연구 방법 중에서 내러티브 탐구 방법에 근거하여 자료 수집하였고, 분석 과정은 귀납적 분석 위주로 하고 해석적 분석을 추가하였다. 연구 결과, 연구 참여자들은 자아실현을 위해 창업을 하게 되었고,창업 성공의 기준을 높은 매출액에 두지 않았다. 또한 참여자들은 규모 경제 실현, 유통 개척, 자금 조달의 다양화, 제품의 선택과 집중에 어려움을 겪고 있었다. While there is a worldwide emphasis on the importance of startups, the Korean design industry suffers from an over supply of design companies, increased price competition and widespread low costs contracts etc. This study aims to expand the understanding of the current states of design based start-ups in Korea by determining related practical issues. To achieve the research objective, the research questions were set to first, "what is the motivation for the design based start-up" and second, "what are the difficulties in setting up a design based start-up." To collect data, the qualitative narrative inquiry method was used, and this data was analyzed using inductive analysis supplemented by interpretive analysis. The results of this study showed that the participants founded companies to realize their own visions and did not base the success of their startup on high revenues. The research also confirmed that the founders had difficulty in achieving economies of scale, opening distribution channels, diversifying sources of funding, selecting and focusing on a particular design service to offer.
-
강희정 ( Hee Jung Kang ) 미술사와 시각문화학회 2013 미술사와 시각문화 Vol.12 No.-
How did Seokguram become a Masterpiece? This research argues that the idea of Seokguram as a masterpiece was not developed a priori. The historical value of the Seokguram Grotto in Korean art history is undeniable. Seokguram has been well acknowledged for its architectural and technical excellence not to mention its artistic value. However, its significance may have not been recognized properly if no one had paid any attention to it. It was during the Japanese colonial period when Seokguram earned its status as masterpiece and its historical importance was highly emphasized. It is interesting to note that the people who made Seokguram the most representative masterwork and glorious monument of Korean Buddhist art were not Korean but Japanese. However, in the 1930s, Korean intellectuals began to glorify Seokguram as their proud cultural heritage. For them, Seokguram was the historical monument embodying national essence and spirit. As a result, Seokguram came to be designated as national masterwork. In order to educate Korean people as Japanese civilians, Imperial Japan included discussions and photos of Seokguram in Japanese school textbooks. The Republic of Korea, a newly established nation, also made efforts to highlight the significance of Seokguram in school textbooks for Korean language and Korean history classes. Although school curriculums have been revised many times, the significance of Seokguram as one of the greatest masterpieces in Korean art that represents national pride and spirit has not been changed. What is the significance of the facts that the writings about Seokguram have mostly been included in Korean language textbooks and that these writings are, in nature, This has mainly been influenced by the textbook compliers who took nationalist approaches to the value of Seokguram. For them, Seokguram was the most important symbolic capital evoking the glorious past of the nation. As a result, the historical and art historical meanings of Seokguram had rarely been discussed. Due to this fervor of ethnic nationalism coupled with the dominance of political authoritarianism, Seokguram was used as a means of promoting national consciousness and identity in educational fields in Korea. Since the 1990s, when the ideological conflicts of the Cold War era came to an end, writings about Seokguram have been hardly seen in newly revised textbooks. This phenomenon coincided with the situation of the period when world-wide globalization was accelerated and fervent nationalism lost its appeal. During the 1950s when the Korea was under the tight control of Japanese influence, and the 1970s, when the Cold War between South and North Korea was intensified, both countries asserted the legitimacy of their own nations. Until the 1970`s when nationalism was emphasized and the 1980`s when the slogan of “our own” was overstressed, the education of ethnic nationalism through textbooks was fully devoted to highlighting Seokguram as national treasure. In the nationalist education system, Seokguram stood somewhere between a masterpiece and an ideological product.
-
-
강희정 ( Hee Jung Kang ) 미술사와 시각문화학회 2005 미술사와 시각문화 Vol.4 No.-
This paper is an attempt to look into the Buddhist sites and sculptures of Bodhgaya in relation to the records of pilgrims from East Asia. In the travel accounts of the pilgrims, Bodhgaya is described as the place where Sakya-muni achieved his enlightenment. Early forms of the temple wltich were described by many pilgrims have vanished, leaving just some traces now covered by the later buildings. Good evidence for the original feature of the Mahabodhi temple was a relief from Bhrhut. Faxian noted that the spot of the Buddha`s enlighten-ment was marked by a tower. On the basis of a terracotta plaque from Kumara, some scholars suggested that this tower was built during the late Kushan period. When the Burmese Mission and the British archaeologists restored the temple in the late 19th century, a mittiature temple excavated near the site provided a source for reconstruction. Thus it came to have four corner towers around the main building. But there has been skepticism regarding the authenticity of the restored shape. Although its basic elements derived from the Maravijaya, the Buddha in bhumisparsa-mudra from Bodhgaya does not seem to be presented in a narrative spirit. Even though Xuanzang described the Buddha in bhamis-paria-mudrti and explained it meaning, there was no such Buddha image prior to the 7th century. Since tbe importance of the site increased for the pilgrims, the Buddha image in bhtlmisparia-mudra was regarded as a ref-erence to the enlightenment and the Vajrasana. Pipalleaves at the top of the Buddha image and a vajra on the lotus seat could be references to the Vajrasana. When the Chinese pilgrims returned to their homeland, they could have taken souvenirs like small votive objects such as votive seals, plaques, or miniature stupas. Many of terra cotta Buddha plaques excavated near Dayanta at Ciensi in Changan bear the inscription of "Indian Buddha image" in Chinese. These plaques remind us so much of small votive objects excavated by Alexander Cunningham in the Mahabodhi temple dur-ing the 19th century. These baked or sun-dried offerings were miniature clay stupas, the Buddhist creed sea lings , and votive plaques, There is no evidence that Faxian or Xuanzang took those sealings or votive objects to China, The material links with Indian remains and East Asian pilgrims leave a number of questions to be explored in depth.
-
-
강희정 ( Hee Jung Kang ) 서강대학교 동아연구소 2011 東亞 硏究 Vol.30 No.1
Nation building was one of the most important tasks for New nation, Singapore since the nation declared its independence. The people in Singapore had not enough time to make their own national identity, which was multi-racial, multi-lingual, multi-cultural. It was definitely necessary and impending job for the governors to invent their own nation. The former Prime Minister Lee Kuan Yew gave a public speech twice in 1972 and 2002 at the ceremony to celebrate the completion and re-location of the first Merlion statue near The Fullerton House. And his son, Prime Minister Lee Hsien Loong took the lead in establishing the Asian Civilization Museum. Another former Prime Minister Goh Chok Tong talked to the congress that their museums had to cohere the memory of the nation. All the bureaucrats of Singapore knew how to use various relics, visual artifacts and symbols for the nation. Through the all kinds of exhibitions, dioramas, motion pictures about their history and culture, and electronic devices they successfully built their national identity. Even if their ancestors originated from all over Asia, now they get to perceive one nation as Singaporean.
-
6-7세기의 동남아 힌두 미술 -인도 힌두미술의 전파와 초기의 변용-
강희정 ( Hee Jung Kang ) 한국동남아학회 2010 동남아시아연구 Vol.20 No.3
The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. Indianization is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a selective reception of foreign religious culture. There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an Indianization or the influx of elements of Indian culture, it was closely related to the matter of `localization.` The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.
-
ScienceON
DBpia연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
