미세먼지와 식물의 상호작용: 국내외 연구동향 및 생태적 영향 고찰

손민정,남기정,Son, Min-Jeong,Nam, Ki-Jung 한국하천호수학회 2020 생태와 환경 Vol.53 No.4

대기 중 미세먼지가 환경과 인간의 공중 보건에 악영향을 미치고 있다는 사실은 점점 명확해지고 있다. 미세먼지가 식물의 잎에 침착, 흡수되므로 식물이 미세먼지를 제거하는 바이오필터로 활용하기 위한 연구들이 활발히 진행되고 있다. 또한, 식물에 흡수된 미세먼지는 식물에 다양한 생리적, 형태적 영향을 미치게 된다. 본 연구는 식물과 미세먼지간의 상호작용에 대해 국내외에서 수행되어온 연구들의 방법과 결과를 특히 생태적 관점에서 종합 정리하였다. Airborne particulate matter (APM) is increasingly recognized that it has adverse impacts on environment and human public health. As plants can have a potential to reduce APM significantly by its deposition on leaves, considerable efforts has been made to use them as a biofilter. However, APM accumulation on plants can induce physiological and morphological alterations in plants. The present review aimed to synthesize the methods and results of the recent relevant research on interactions between plants and APM, especially from an ecological perspective, and briefly took into account the current status in Korea on this actively increasing research area.

수정체 상피세포에서 TGF-β에 의한 MMP-2와 MMP-14의 발현과 조절 기전

손민정,김종탁,주천기,Min Jung Son,B,S,Jong Tak Kim,Choun Ki Joo 대한안과학회 2006 대한안과학회지 Vol.47 No.7

Purpose: TGF-β is a key regulator of epithelial-mesenchymal transition. Among the TGF-β responses, cell migration is closely associated with the expression of matrix metalloproteinases (MMPs). Therefore, we determined which MMPs are regulated by TGF-β and examined the TGF-β signaling involved in this event, focusing on Src family tyrosine kinases (SFKs) Methods: First we examined the expression of MMPs in rat lens explant culture treated with TGF-β and LECs attached to the anterior capsules of patients with nuclear (N), anterior polar (AP) cataracts using RT-PCR and immunofluorescence staining. It was examined whether the expression of MMPs is regulated by SFKs. Results: The study using RT-PCR and immunofluorescence staining showed the expression of MMP-2 and -14 in explants and the expression of MMP-14 LECs of AP cataracts. The expression of MMP-2 and -14 was blocked by PP2 in explants. Furthermore, the activated form of SFKs was observed in LECs of AP cataracts by immunofluorescence staining. Conclusions: We suggest a novel role of SFKs signaling in the expression of MMP-14 induced by TGF-β.

약학박사 정 시련 교수 정년퇴임 기념호 : 연구논문(재록) ; 생명과학 : 천연유래 바이플라보노드인 오크나플라본의 쥐 골수유래 비만세포에서 사이클로옥시게나제-2 및 5-리폭시게나제 저해

손민정 ( Min Jung Son ),뮨태철 ( Tae Chul Moon ),이은경 ( Eun Kyung Lee ),손건호 ( Kun Ho Son ),김현표 ( Hyun Pyo Kim ),강삼식 ( Sam Sik Kang ),손종근 ( Jong Keun Son ),이승호 ( Seung Ho Lee ),장현욱 ( Hyeun Wook Chang ) 영남대학교 약품개발연구소 2006 영남대학교 약품개발연구소 연구업적집 Vol.16 No.-

음악인류학의 방법론에 관한 실제적 고찰 -트로트 연구 사례를 중심으로-

손민정 ( Min Jung Son ) 민족음악학회 2013 음악과 민족 Vol.45 No.-

This study is an alternative exploration of Ethnomusicological research methodology, particularly dealing with three issues involved in a case study of t`uro t`u, a Korean popular song style. The three issues are (1) Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation, (2) Researcher’s Double Identity: Insider vs. Outsider, and (3) Researcher’s Multilineal Communication: Reality vs. Cyber. Differentiated from existing theoretical studies regarding the ethnomusicology methods published in Korean academic journals, this article tries to examine practical and experiential issues that researchers can face in their fieldwork, the key element of the ethnomusicology research. In addition, this article tries to transform ethnomusicological methodology into an open-ended (or subject-centered) discipline, while the existing researches tend to be mostly theory-centered. The first issue, “Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation”, interrogates the process in which a researcher becomes a welcomed spectator and then turns to be a participant observer/scientific analyst. As seen in the 16th century ethnography, particularly Jean De Lery’s, a researcher needs to be emotionally attached to the research subject. Meanwhile, a researcher, as a legitimate scholar, applies scientific methods to the analysis of the subject, as witnessed in the archival studies between 17th century and 19th century. The second issue, “Researcher’s Double Identity: Insider vs. Outsider”, examines the diverse relationships between informants (insiders) and a researcher (outsider), a native researcher (insider/outsider) and the international academia (outsiders). In particular, this article points out that native scholars who study working people’s music should consider the innate tension running through the Korean social structure as well. Finally, the third issue, “Researcher’s Multilineal Communication: Reality vs. Cyber”, explores the contemporary cyber communication, since this modern cyber media refer to mass yet dynamically interactive communication characteristic of recent times. Moreover, this article suggests that researchers should also consider an alternative multilineal way to communicate with readers/viewers/users through the hypermedia.

한국군에서의 한타박스^® (HFRS국내백신)의 효용성에 대한 연구

손민정 ( Min-jeong Son ),황현철 ( Hyun-chul Whang ),양병윤 ( Byeon-yun Yang ),최강원 ( Kang-won Choe ),박영준 ( Young-joon Park ),황세민 ( Se-min Hwang ),채동완 ( Dong-wan Chae ) 국군의무사령부 2011 대한군진의학학술지 Vol.42 No.1

Introduction: Hemorrhagic fever with renal syndrome (HFRS), although its incidence is decreasing, reveals severe renal clinical course and high mortality. Military croups have many outdoor activities, so soldiers cannot avoid to exposure of Hantan virus in epidemic area in Korea. Therefore, soldiers in epidemic area were scheculed to vaccinate HantavaxⓇ which is intoxicated vaccine. this study aims that HantavaxⓇ can influence with the clinical course of HFRS. Methods: Twenty nine male patients ,who were diagnosed HFRS in the Armed Forces Capital Hospital, were retrospectively enrolled from March 2009 to July 2010. Patients have positive results in Hantan virus antibody using with rapid chromatography test and they have no history of vaccination within three month recently. Nephrology specialist diagnosed the HFRS in patient and enrolled them in study group. All patients were confirmed the vaccination history which is based on public record of his croup, not his memory's. Researchers could check patient's precise vaccination history, the day and the times. We classified patients by non-vaccination patients (group 1) and vaccination patient (group 2) and investigated clinical course of both groups. Results: Eleven patients (37.9%) had been vaccinated previously and eighteen patient had not had vaccination. None of study patients was died. six patients of group 1 must have been dialysis treatment during acute status and none of group 2 were not dialysis treatment. Eleven patients of group 1 experienced oliguria, but only one patient of group 2 have oliguric phase. These clinical course shows stastically different from group 1 and group 2(p=0.032, p=0.011). These results are announced that vaccination might have protective effect against the HFRS. Admission day, titer of antibody, hematologic and chemical test were not different among two groups. Conclusion: Vaccination group of HantavaxⓇ in patients had better clinical course than non-vaccination group. Additional study should be needed for evaluating of renal protective effect of HantavaxⓇ.

디지털 시대의 음악적 소리, 행위, 가치체계의 변화

손민정 ( Min Jung Son ) 한국기호학회 2014 기호학연구 Vol.39 No.-

디지털 시대의 대표적인 음악청취형태는 ‘이어폰’을 끼고 ‘휴대폰’에 자신만의 취향대로 저장해둔 ‘음원 라이브러리’의 음악을 들으며 길을 걷거나, 다른 업무나 행동을 병행하는 것이다. 음악은 어느새 전자파일의 형식의 음원으로 변화하였으며 이에 따라 사람들은 점점 음악을 수용하는 행위, 음악으로부터 기대하는 가치체계를 달리 하게 되었다. 일각에서는 극도로 고립된 개인적인 음악청취는 결국 사회적인 소통의 부재로 이어질 수도 있다고 우려한다. 그러나 작년 (2013년)부터 전 세계적으로 라이브 음악이 활성화되는 특이한 현상을 경험하게 된다. 1999년 냅스터가 출범하면서 본격적으로 시작된 인터넷 시대에 끝없이 추락하던 음반판매 역시 작년에는 호조를 보였다. 이에 본 논문은 최근의 음악적 현상과 흐름을 해석하고자 한다. 음악인류학에서는 음악을 소리적(sonic) 측면과 더불어 음악에 관련된 행위 (behavior)와 의미(metaphor)를 연구대상으로 삼는다. 논자는 음악인류학적 접근을 응용하여, 음악을 소리체계가 아닌 기호체계로 확대시키고자 한다. 우선, 20세기 초음반이 생산되면서 음악이 복제되기 시작하던 시점으로 논의를 거슬러 올라간다. 1930년대 라디오의 전성기를 맞이하면서 전파를 통해 전달되는 음악에 상응하는 개념으로 공연은 ‘라이브 뮤직’이라는 새로운 용어로 덧입혀진다. 한동안 복제된 음악은 부차적이고 종속적인 자리를 벗어나지 못하다가 오디오 테크놀로지의 눈부신 발전에 힘입어 고유의 ‘진정성’을 얻게 된다. ‘오디오 애호가’라는 개념이 대두되던 시점이다. 복제된 음악도 그 자체로 진정한 음악청취가 될 수 있는 것이다. 1980년대에 이르면 워크맨의 개발로 인하여 음악은 움직일 수 있게 되고, 시공간의 제약으로부터 완전히 해방된다. 개인성이 발현되기 시작한 것이다. 급기야 인터넷의 시대에 들어서면, 음악은 각종 -불법이건 적법이건 간에- 다운로드를 통해 공유화된다. 뿐만 아니라 음악수용자와 음악생산자는 다양한 소셜 네트워크를 통해 감성을 교환한다. 가장 고립적일 것으로 예상되던 디지털 시대의 음악적 가치 체계는 오히려 ‘인터렉티브 뮤직(interactive music)’으로 변하게 된 것이다. 이와 같은 음악현상의 변화는 최근에 일어난 라이브 공연의 활성화와 앨범판매의 호조를 설명할 수 있다. 디지털 커뮤니케이션의 횟수가 잦아진 만큼 구체적으로 세밀화 시킬 수 있는 고전적인 커뮤니케이션이 요구되기 때문이다. The habit of headphone listening to music, more specifically music files downloaded in his/her online library, via mobile devices while studying and working, or walking is common in our digital age. As music becomes invisible digital files, people receive music differently, in terms of their behavior and metaphor. This newly invented musical culture has been considered the cause of extremely disconnected social relationships. However, the live music economy re-emerged globally last year, and we could also see the rise of the record sales after the ten year fall with the introduction of Napster (a pioneering peer-to-peer file sharing Internet service) in 1999. This paper deals with these unexpected transformations of the digital age. Ethnomusicology regards music as a tri-fold sequencing system, consisting of sonic elements, behavioral aspects, and embedded meanings/values. This research, adopting an interdisciplinary approach of ethnomusicology, tries to expand the scope of music to a cultural phenomenon. Firstly, the paper goes back to the emergence of the recorded music in the early 20th century. The term ‘live music’ was coined and provided a symbolically privileged position to performance, when the recorded music was relentlessly re-played during the heyday of radio transmission in the 1930s. However, the recorded music becomes another authentic music experience as its involved technologies such as the multitrack recording and other hi-fidelity audio systems developed. Additionally, music has been liberated from the spatial constraints as the walkman (a portable cassette player) was introduced to the public by Sony in the 1980s. People, thus, began to express their individualities through this personalized music culture. Finally, music became a public property, whether legally or illegally, shared through the Internet. Music providers (creators) and consumers (listeners) exchange their emotions via diverse social networks more freely than ever before. The extremely interactive, social, and dynamically changeable music communicated in the Internet laid the foundation for a revitalized live music industry and record sales. In conclusion, as digitalized communication has been widespread, the demands of the classical face-to-face communication increased to compliment the informationcentered digitalized relationships.

1920년대 중반∼1930년대 초반의 악극 연구: 여성 악극인의 근대성을 중심으로

손민정 ( Min Jung Son ) 이화여자대학교 음악연구소 2013 이화음악논집 Vol.17 No.1

베를리오즈의 과학,기술적 사고에 관한 고찰

손민정 ( Min Jung Son ) 민족음악학회 2014 음악과 민족 Vol.48 No.-

Hector Berlioz(1803-1869), a French composer from the Romantic period, published diverse music-related articles and bizarre yet interesting stories, heavily influenced from future-oriented science and technology during the Industrial Revolution in the mid-19th century. His representative works include systematic and acoustical analyses of orchestra, conducting, instrumentation, and orchestration. We can find all of those researches in Grand Traite d`instrumentation et d`orchestration modernes(1844). His writings include novel Soirees de l`orchestre(1852), in which narratives of short stories, tales, gossips, and anecdotes are told. This article focuses on these two different publications, investigating his musical and literary interpretations on the modern scientific and technological development of those times. Berlioz was, first of all, interested in the acoustical process of sound, such as the `reverberation[reflection]` in the concert hall. He insisted that sounds should be transferred to the audience differently according to the surface materials of the hall, distances between the sound and the reverberation walls, and the dispositions of the performers. He also experimented several different arrangements of the musicians, building a platform for the orchestra in order to solve the logistical and acoustical problems caused by the chorus in front of the orchestra. Berlioz assiduously adopted newly invented devices for the performances, maximizing the range of the instrumentation and setting electric metronomes for the multiple assistant conductors. He perceived music as a spatiotemporal energy, not an one-dimensional static entity. This article, in addition, deals with the literary interpretation of his scientific mind. Berlioz wrote “Euphonia,” a science fiction and the 25th evening story of Soirees de l`orchestre. With the Saint-Simonian viewpoint and futuristic eyes on the industry, he imagined a musical utopia fully armed with science and technology. The steam-powered organ he placed in the middle of the city anticipated the electric organ, while the visual telegraph that euphonians communicated with was an archetype of the live video calls of the smart phone. This research unveiled that Berlioz was a true revolutionary music maker, carving the way of sound productions as well as the music creations.

발자크의 『강바라』를 통해 본 19세기 초 파리 음악관의 변화 -마이어베어의 ≪악마 로베르≫ 분석을 중심으로-

손민정 ( Min Jung Son ) 한국음악학학회 2015 음악학 Vol.23 No.2

마이어베어의 오페라 ≪악마 로베르≫는 파리에서 1831년 초연된 이후 대성공을 거둔다. 6년 후 1837년, 발자크는 소설 『강바라』에서 천재 작곡가 강바라의 입을 빌어 이 오페라를 해석한다. 마이어베어와 그의 작품들은 19세기 유럽을 강타했음에도 불구하고 20세기에 철저히 외면당했다. 그러던 중, 1990년대 이후 최근까지 그와 그의 음악세계에 대한 재해석이 활발하게 이루어지고 있는 상황이며 본 연구는 이러한 학문적 동향에 가세하여 진행되었다. 뿐만 아니라, 문학작품을 통하여 음악문화를 분석함으로써 음악사를 입체적으로 접근하려고 한다. 소설의 주인공이 주장하는 두 가지 상반되는 해석을 통하여 19세기 파리의 음악적 실제와 경향 및 비평의 움직임을 파악하고자 하였다. 강바라는 술에 취한 상태에서는 극찬을 하는가 하면, 술에서 깨어난 뒤에는 비난을 힐난하게 한다. 이는 대중의 취향과 이에 대비되는 출판업자 슐레징어의 의도 및 언론계의 움직임을 문학적으로 표현한 것이며 발자크는 궁극적으로 슐레징어의 의도에 부합하여 독일의 관념적 낭만주의를 지향하고자 하였음을 알 수 있다. Meyerbeer’s Opera, Robert le Diable, gained a huge success since the premiere in 1831. Six years later in 1837, Balzac wrote a novel, Gambara, depicting that a genius composer, Gambara, disputably interpreted this opera. Meyerbeer and his music was received extremely well in the 19th century, while it was completely forgotten during the 20th century. Now, we can currently see that there have been interesting attempts to rediscover the values of Meyerbeer and his music. This present research tries to reflect on this current scholarly interest on Meyerbeer, and, furthermore, extend music history to cultural studies, utilizing literature research. Gambara, in this novel, has two opposite viewpoints regarding Meyerbeer and his opera, which implies that public audience of Paris-drunken Gambara-and critics-sober Gambara-stood in different directions in the 19th century. Balzac and his publisher Schlesinger, in doing so, harshly criticized the taste of the Parisian audience, and provided the German romanticism as an alterative and futuristic new musical aesthetics.

학술 논문 : 악보산업 양상을 통해 살펴본 한국 현대음악문화사

손민정 ( Min Jung Son ) 서울대학교 음악대학 2010 음악이론연구 Vol.15 No.-

This research tries to find an alternative method to explore the contemporary Korean music culture involved in the score publication industry. The Korean score publication industry began during the modernization period, and developed as a crucial music industry around the Korean War. This research, as an initial attempt in this area, focuses on the intricate relations between the score publication industry and the music culture after the Korean War. In doing so, this work examines contemporary Korean social circumstances deeply related to the score publication industry, such as the Korean War in the early 1950s, joining of the Universal Copyright Convention in 1987, the glory days of rock bands (also called group sound) in the 1970s, the emergence of middle-class ideology in the 1970s~80s, curriculum of public school, and the transformation of popular music idioms. The method of this research is based upon extensive interviews with those who have been related to the score publication industry, such as managers of major score publishers, salespersons of music scores, and diverse consumers. The memories of the informants were cross-examined with archival works, including journals and newspapers. This article consists of three parts: (1) Emergence of Popular Songbooks: 1950s ~ 1970s, (2) Heyday of Piano Scores: mid 1970s ~ 1990s, (3) Current Situation: 2000s.