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RBL 2H3 비만세포에서 히스타민 유리와 칼슘과의 관계
박성훈,김수정,김정민,박주현,최방실,이지윤,최미영,심상수,Park, Sung-Hun,Kim, Soo-Jeong,Kim, Jung-Min,Park, Ju-Hyun,Choi, Bang-Shil,Lee, Ji-Yun,Choi, Mi-Yeong,Sim, Sang-Soo 대한약학회 2007 약학회지 Vol.51 No.1
To investigate the relation between extracellular Ca$^{2+}$ and histamine release, we observed agonist-induced histamine release from RBL 2H3 mast cells in the presence or absence of extracellular Ca$^{2+}$ concentration. Histamine release induced by melittin and thapsigargin were greater in the presence of extracellular Ca$^{2+}$ than in the absence of extracellular Ca$^{2+}$. Econazole-induced histamine release had nothing to do with extracellular Ca$^{2+}$, whereas arachidonic acid-induced histamine release increased in the absence of extracellular Ca$^{2+}$. Calmodulin antagonists did not affect melittin-induced histamine release but they may potentiate arachidonic acid-induced histamine release. These data suggest that arachidonic acid-induced histamine release may be mediated via Ca$^{2+}$-independent pathway and may be potentiated by the block of Ca$^{2+}$-dependent pathway.
박성훈(Sung-Hun Park),김형기(Hyung-Gi Kim) 한국콘텐츠학회 2024 한국콘텐츠학회논문지 Vol.24 No.3
사진영상 매체가 등장한 이후 현대사회는 영상기반의 환경으로 빠르게 변화하였다. 이는 ‘대상의 사실성’에 대한 개념의 재정의와 시간성에 대한 개념의 확장으로 이어졌다. 본 연구는 영상의 한 장르인 타임랩스 영상기법에 나타나는 시간성의 개념에 대해 정리하고, 다른 매체와의 사례 비교를 통해 이 기법의 특징과 장점을 도출하여 시간성의 표현방법을 더욱 풍부하게 발전시키는 데 목적을 두고 있다. 타임랩스 영상 기법은 다른 매체에서 보여주기 힘든 시간성을 직관적으로 보여준다. 시간을 압축하여 전체적인 흐름을 드러내며 선형적 구조의 설명적인 영상의 시간을 압축하여 관람객의 내용의 이해도를 높힐 수 있으며, 고화질 이미지 데이터를 가공하여 영상을 제작하기 때문에 미디어 기반 감각의 확장을 체험할 수 있다. 본 연구를 통하여 타임랩스 기법에 내포된 개념들을 재정립하고, 시간성 개념에 특화된 매체라는 것을 확인할 수 있었으며, 다른 매체와의 융합을 통해 시간성 표현을 더욱 다양하게 발전시키는 데 도움이 되기를 기대할 수 있다. Since the advent of photographic video media, modern society has rapidly changed to a video-based environment. This led to a redefinition of the concept of ‘object reality’ and an expansion of the concept of temporality. The purpose of this study is to organize the concept of temporality that appears in time-lapse video technique, a genre of video, and to derive the characteristics and advantages of this technique through case comparison with other media to further develop artistic expression methods. is leaving. The time-lapse video technique intuitively shows temporality that is difficult to show in other media. By compressing time, the overall flow can be revealed, and by compressing the time of explanatory videos with a linear structure, visitors can improve their understanding of the contents. By processing high-definition image data to produce videos, they can experience the expansion of media-based senses. there is. Through this study, we were able to redefine the concepts contained in the time-lapse technique and confirm that it is a medium specialized for the concept of temporality, and it can be expected to help further develop temporality expression through fusion with other media.
李漁의 劇作法의 原理와 原則 小考 - 結構第一을 중심으로
박성훈(Park, Sung-Hun) 중국문화연구학회 2020 중국문화연구 Vol.0 No.49
Li Yu was an important drama theorist and writer in the late Ming and early Qing Dynasties. Learning from the experience of his predecessors and combining it with his own writing experience, his drama theory has it unique features. Based on his structural theory(結構論), this paper extracted the drama writing method. Li Yu recognized that creating a play is really creating something new, and he practiced this perception himself. He wrote the principles and laws of script creation for the development of plays, This paper analyzed the play writing’s method in three areas: theme, conflict, and story. Theme can be said to be a topic, and it is thought to have been used as a proposition(命題). A proposition in a play, it can be interpreted as a short sentence that explains the content of a work. Setting up a proposition is a process of embodying the abstract ideas that the author has in his head into a sentence, and it is thought that if the proposition is established, he can enter the stage of creation of the play to a certain extent. This is because the proposition includes characters, conflicts, and endings. Li Yu realized that plays are the determinants of conflict. The play proceeds as conflicts arise, are resolved, and converted, then another conflict is created, resolved, and converted. He then set up a main force(主腦), whether it is the backbone of the so-called conflict, to make the main character act, and highlighted the conflict so that the plot can be developed with a connection. This is something unique that he created. Then It would be really hard to discover and create new materials and story. The creation of a play has become an inevitable factor in the success or failure of a drama creation. In this sense, LI Yu’s search and encouragement for new story are like map, which guides play writing on the path of new creation. The principles of Li Yu’s drama creation law are valuable and can still apply today.