CD38 Inhibition Protects Fructose-Induced Toxicity in Primary Hepatocytes

강엽,Soo-Jin Lee,Sung-E Choi,Seokho Park,Yoonjung Hwang,Youngho Son 한국분자세포생물학회 2023 Molecules and cells Vol.46 No.8

A fructose-enriched diet is thought to contribute to hepatic injury in developing non-alcoholic steatohepatitis (NASH). However, the cellular mechanism of fructose-induced hepatic damage remains poorly understood. This study aimed to determine whether fructose induces cell death in primary hepatocytes, and if so, to establish the underlying cellular mechanisms. Our results revealed that treatment with high fructose concentrations for 48 h induced mitochondria-mediated apoptotic death in mouse primary hepatocytes (MPHs). Endoplasmic reticulum stress responses were involved in fructose-induced death as the levels of phosho-eIF2α, phospho-C-Jun-N-terminal kinase (JNK), andC/EBP homologous protein (CHOP) increased, and a chemical chaperone tauroursodeoxycholic acid (TUDCA) prevented cell death. The impaired oxidation metabolism of fatty acids was also possibly involved in the fructose-induced toxicity as treatment with an AMP-activated kinase (AMPK) activator and a PPAR-α agonist significantly protected against fructose-induced death, while carnitine palmitoyl transferase I inhibitor exacerbated the toxicity. However, uric acid-mediated toxicity was not involved in fructose-induced death as uric acid was not toxic to MPHs, and the inhibition of xanthine oxidase (a key enzyme in uric acid synthesis) did not affect cell death. On the other hand, treatment with inhibitors of the nicotinamide adenine dinucleotide (NAD)+-consuming enzyme CD38 or CD38 gene knockdown significantly protected against fructose-induced toxicity in MPHs, and fructose treatment increased CD38 levels. These data suggest that CD38 upregulation plays a role in hepatic injury in the fructose-enriched diet-mediated NASH. Thus, CD38 inhibition may be a promising therapeutic strategy to prevent fructose-enriched diet-mediated NASH.

William Blake의 'The Tyger'

姜曄 釜山大學校 1982 人文論叢 Vol.22 No.1

‘The Tyger’ of William Blake has been traditionally interpreted as the wrath of God or God's nature. But the nature of Blake's work is visionary or imaginative. By vision Blake meant the view of the world, not as it might be, still less as it ordinarily appears, but as it really is when it is seen by human consciousness at its greatest height and intensity. It is the artist's business to attain this heightened or transfigured view of things, and show us what kind of world is actually in front of us, with all its glowing splendour aha horrifying evils. There are two main elements of complication in Blake's poems. One is context. Most of Blake's well-known lyric poems are the expressions of Innocence and Experience. These are the two contrary soul of the soul. So the reader should know which of the two stales the given poem expresses. The other is point of view, that is, who is speaking in the poem? If we take these elements into consideration, we come to recognize with ease that the traditional interpretation of ‘The Tyger’ is wrong, ‘The Lamb’ represents Songs of Innocence, and 'The Tyger' Songs of Ecperience. The lamb symbolizes harmlessness, gentleness, peace, love, etc. But the tyger is Blake's symbol for the fierce, terrifying forces in the human soul. The “forests of the night” in which the tyger lurks are the images of evil, death, the unconscious chaos, etc.

조지 허버트의 신앙과 모형시

강엽 한국고전중세르네상스영문학회 2002 중세근세영문학 Vol.12 No.2

George Herbert described his poetry as "a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus My Master." He profited from every aspect of John Donne's style, but he always adapted it to his own temperament, and employed more than one hundred stanza forms, many of them extremely complicated. In "Easter Wings" and "The Altar" Herbert made the poems visual hieroglyphs to create them in a shape which formed an immediately apparent image relevant both to content and structure, whereas in "Aaron," "The Church-floore," and "Paradise" the patterns are valuable as contents, that is, they are used as the objects which crystallize the meanings of the poems, and the poems could be constructed as formal hieroglyphs which mirrored the structural relationships between the natural hieroglyphs, the poems, and the individual's life. Finally in "The Collar" Herbert ventured in hieroglyphic form. The object of imitation is the disordered life of self-will. He has given a formalized picture of chaos in the elaborate anarchy of the patterns of measure and rhyme. But the poetry of Herbert is so intimately bound up with his faith as a Christian and his practice as a priest that those who want to enjoy the poetry without sharing his faith may well feel some presumption in attempting to define the human, as distinguished from the specifically Christian, value of his work.

윌리엄 블레이크의 시에 나타난 사해동포주의

강엽 새한영어영문학회 1999 새한영어영문학 Vol.41 No.2

William Blake has been called a mystic; a word which suggests an other-worldly contemplative. But his genius was not of that kind. He called himself a prophet, and he was indeed the first poet to speak of a new age. He clarified the nature of his work to be the visionary or imaginative and it was an endeavour to restore what the ancients called the Golden Age. So the aim of this thesis is to examine and find out the real meaning of the Universal Brotherhood in his poetry. Blake was fully aware of the iniquity of the social structure of his day, and perceived the trials tribulations of his fellowmen. For his part, Blake was deeply interested in Universal Brotherhood, but liberty of course was his great theme. Therefore he uses his poetry as a means to bring about in the souls of his fellow men a living and imaginative response to the evil social conditions and spiritless human relationships. The prime source of Blake's ideas about Universal Brotherhood is the Bible. He explicitly connects the idea of brotherhood with the immanence of God, and developes the idea that we are "brethren in Christ"(Colossians 1:2). So his conclusion of The Four Zoas is that "Man subsists by Brotherhood & Universal Love"(Four Zoas IX: 638). In a comparable speech to the reviving Albion at the end of Jerusalem, Jesus says, "This is Friendship & Brotherhood without it Man Is Not"(Jerusalem 96:16). The poet resolves not to cease his mental fight until Jerusalem has been built on the earth, that is to say, until the Golden Age has been restored in the world.

셰이머스 히니의 시에 대한 문학생태학적 접근

강엽,정현욱 부산대학교 2000 효원 영어영문학 Vol.18 No.1

Human beings have destroyed the ecological order in the name of development and civilization. It is high time that we should change our mind. As we think about the present situation profoundly, we can understand that there is a serious ideology in it. That is the concept of binary oppositions, such as human/nature, man/woman, light/dark, and so on. This is the Euro-central thought that justifies the destruction of nature by human beings. In this situation, the ecological literary criticism, new paradigm, has turned up. And this criticism has been united with the feminist criticism. This paper seeks to analyze Seamus Heaney's poetry as an ecological literary text. Heaney is an Ireland poet. Since he grew up, he has experienced the history of colonization. When we analyze his poetry as an ecological literary text, we can easily understand that Heaney warns the destruction of the ecological order, and shows the positive solution. In his poetry, he deconstructs the binary oppositions, and seeks for the harmonious relationship between them. Besides, he strives to restore the circulating idea of time, the important ecological literary concept. The ecological literary critics consider this idea of time as the solution with regard to the dangerous situation of the present. Therefore, we can comprehend that the world Heaney seeks for is the harmonious one in which human and nature can live together. Heaney practices the ecological literary concept in his poetry, and shows the vision we should keep abreast with.

Songs of Innocence and of Experience의 序詩 : 그 豫言者的 性格

姜曄 釜山大學校 1985 人文論叢 Vol.28 No.1

In the Songs Blake pursued a more traditional and more lyrical art, because some deep need in him called for this kind of expression. In the prophecies he had a great message for his generation, an urgent call to awake from its slothful sleep. This is not the spirit, some critics say, in the Songs. 'Introductions' to the Songs, however, have some prophetic character in them. In the 'Introduction' to Songs of Innocence the Piper did not merely sing the rural landscape, dut only did what the Child on a cloud wanted him to do. In the Bible the prophetb is called a nabi, that is, a spokesman. The Piper piped a song about a Lamb as a spokesman, and foresaw mankind enter the state of Higher Innocence through the portal of Experience. In the 'Introduction' to Songs of Experience the Bard sees Preseet, fast & Future, and takes on the whole the redemptive and providential view. So the Bard also foresees that man will, at the moment of his spiritual rejuvenation, repudiate, and be withdrawn from, the world of the senses and move into the intelligible world. Despite the difference in direction of their vision, the Piper and the Bard are imaginative, are what Blake called the poetic or prophetic character. And though one singer uses mild and gentle numbers and the other more terrific tones, both see the imaginative significance of all the activity in the Songs. The 'Introauction' to Songs of Innocence in a sense reminds us of Isaiah the prophet in the Old Testament, while the 'Introduction' to Songs of Experience calls John the Baptist in the New Testament to our minds.

신구약 성경에 나타난 수사학적 기법 연구

강엽 한국문학과종교학회 2001 문학과종교 Vol.6 No.2

This paper aims to attempt a literary approach to the Bible. Can we approach the Bible as literature? There are pros and cons about this question. For the Bible is not a literary work, but the sacred writings of Christianity. That is why T. S. Eliot wants to fulminate against the men of letters who have gone into ecstasies over the Bible as literature. Then what on earth is literature? De Queencey says in $quot;Letters to a Young Man$quot; that all that is Literature seeks to communicate power: all that is not literature, to communicate knowledge. He asserts in $quot;Literature of Knowledge and Literature of Power$quot; that the function of the literature of power is to move to the higher understanding or reason through affections of pleasure and sympathy. Knowledge of power has deep sympathy with truth. The Bible is God's Word, that is to say it is truth(St. John 17:17). It is concerned with what is highest in man: for the Scriptures themselves never condescended to deal by suggestion or cooperation with the mere discursive understanding: when speaking of man in his intellectual capacity, the Scriptures speak not of the understanding, but of the understanding heart to be the interchangeable formula for man in his highest state of capacity for the infinite. Furthermore there are so many literary styles and characteristics in the Bible such as poems. dramas, narratives, figures of speech, symbolism, parables, allegory, and so on. So it is fairly safe to say that we can make a literary approach to the Bible.

동성연애에 대한 성격적 견해

강엽 한국문학과종교학회 2005 문학과종교 Vol.10 No.2

T.S. Eliot : Word Repetition in His Early Poems

姜曄 새한영어영문학회 1981 새한영어영문학 Vol.12 No.-

영국 낭만주의 선구자들의 "시골 운동"

강엽 釜山大學校 人文學硏究所 2003 人文論叢 Vol.59 No.-