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대뇌피질 유발 저작 운동과 연수 망상체 신경세포 활성도에 관한 연구
우승표,안명석,김중수,이종훈 대한구강생물학회 1992 International Journal of Oral Biology Vol.16 No.2
This experiment was performed to clarify the role of brainstem for rhythm generation of mastication induced by stimulation of cerebral cortex. Rabbits were anesthetized with urethane and a pair of wire electrode was inserted into anterior digastric and masseter muscles, respectively. Experimental animal was placed to stereotaxic apparatus and occipital craniotomy and cervical laminectomy was performed to expose caudal brainstem. Cortically-induced mastication was evoked by electrical stimulation of cerebral masticatory area with concentric bipolar electrode and neural activity of brainstem and EMGs of masseter and anterior digastric muscle were recorded. The results obtained were as follows: 1. The neural activity of bulbar reticular formation was recorded at rostral 2-4㎜, lateral 0.5-1.5㎜ to obex and 1.5-2.5㎜ below the bulbar surfafce. 2. The site that neural activity corresponding with EMGs of masticatory muscles was recorded was medial bulbar reticular formation(MBRF) 3. The neural activity of medial bulbar reticular formation(MBRF) was corresponded with anterior digastric or masseteric EMG, respectively. 4. The neural activity of medial bulbar reticular formation(MBRF) and anterior digastric EMG was simultaneously recorded by twin pulse stimulation of contralateral cerebral masticatory area, and stimulation of ipsilateral medial bulbar reticular formation(MBRF) evoked anterior digastric EMG.
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우승표 한국민요학회 2009 한국민요학 Vol.27 No.-
第一, 南方各少数民族由于历史, 居住环境, 生活形态等原因, 歌谣的传承以及搜集和研究状况并不均衡. 这些少数民族的歌谣虽然存在着许多共同之处, 但每一个民族也都有自己的特色. 本篇所述的研究情况和面临的课题, 虽然尽量考虑到共同点, 但很大程度上是根据笔者比较熟悉的侗族的情形阐述的. 第二, 在南方少数民族歌谣研究中近几年出现了新的趋势, 即一些硕士生或博士生深入到少数民族地区做田野调查. 因对于他们的研究成果所知有限, 在本篇中未作介绍, 但他们有可能会成为少数民族歌谣研究的新的开拓者. 第三, 本篇以南方少数民族歌谣为题, 但南方的广大汉族地区也存在着相类似的歌俗, 特别是广东和广西. 他们中也有类似于少数民族的族群——客家, 客家山歌也是一个重要的歌种. 也就是说, 这些汉族是北方的汉族和当地的百越人融合而成, 他们的习俗很大程度上受到百越文化的影响. 譬如汉族本来与稻作无缘, 但这一带的汉族完全继承了百越人种植水稻的传统, 与此相随的稻作文化自然也由他们继承了下来. 他们所传承的歌谣也值得关注.
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우승표 한국민요학회 2010 한국민요학 Vol.30 No.-
성인서사 가요는 현재, 또는 수십 년 전까지 중국의 넓은 지역에서 예축, 降神, 교육 등 기능을 수행하면서 전승하여 왔다. 그 중 ‘神話’로 인정해도 되는 예도 있다. 중국 고대에도 같은 예가 있어, 신령의 성장과정을 서술한 ‘신화’가 이 형식 가요의 원형이었다고 볼 수 있다. 이 형식 가요가 여러가지 기능을 갖고 전승할 수 있는 심리적인 토대가 존재한다. 즉 특정한 장에서, 특정한 대상을 찬미할 필요가 생기고, 표현 형식으로서 성장 과정을 서술하는 수법이 자연스럽게 이용할 수 있어, 또 사람들에게 받아들여질 수가 있었다. 이는 서사형식의 가요가 주술적인 효과를 일으킬 수 있는 수단(혹은 표현)으로서 사람들의 심리 속에 잠재하고 있기 때문이다. 이러한 心意로부터 생긴 표현 형식을 ‘성장서사적 發想’이라고 부를 수 있다. 부동한 시대, 부동한 장에서 전승ㆍ창작되는 이 형식의 가요는 모두가 이 발상에 의해 전개된 것이라고 볼 수 있다. The adult narrative song has been handed down that accomplished pre-celebration, spiritualism, and an educational function, currently or until the past several decades in the wide area of China. Among those, there is the example which is recognized to ‘the myth’. There was a same example at the ancient times of China, too. I think that the myth is the original form of this formal song which has described the growth-process of the spirit. There is a psychological base of tradition that this formal song had a many kinds of function. Namely, in special space, the necessirty was caused which praises the special object, and as expressive form the technique which describes a growth process will be able to use naturally. Therefore it can be received from peoples. Because the narrative song is recognized with a means(or expression) which is latent in the mind of people. We can call the expression to ‘the idea of growth-narrative’, from like this mind. I think that this adult narrative song which is created and handed down in a certain fixed place and times has been eveloped by this idea.
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牛承彪 한국민요학회 2008 한국민요학 Vol.23 No.-
In this article, I discussed the challenges that exist today in preserving and leveraging Chinese traditional folk ballads, with the case of bai mao shan ge as an example, and sought for posible solution. Bai mao shan ge is the collective term for the folk ballads traditionally handed down in the Bai mao area, Chang shu shi, Jiangsu Sheng, China. It was a natural tradition until early 1950s. Ever since then, however, it has been handed down with the local administrative intervention and utilized by that same power. As the traditional production processes and people’s lifestyle have changed, the tradition of bai mao shan ge is gradually fading. The local government and researchers have made efforts for inheriting, preserving and leveraging bai mao shan ge, which has some major problems. The biggest problem is that they have treated it without considering its components. Folk ballads must be treated as a composite “culture” that comprises such elements as music, literature, the places where they are sung, singers, and audience. These five elements’ interaction makes up the dynamics of folk ballads. To preserve the folk ballads, it is necessary to record and retain the “culture” of folk ballads based on the various places where they have been sung. This is also true for other areas in China today. Leveraging the folk ballads, on the other hand, is not a new issue, at least in the case of bai mao shan ge. Many attempts have been made to utilize bai mao shan ge for more than fifty years, and through that processes, some problems have become clear, which helps great deal to figure out how to make effective use of the folk ballads. In a word, preserving the folk ballads is the key. If they fail to preserve them properly, they will have less resources to leverage. Particularly, in today’s China, preservation of the folk ballads including bai mao shan ge is a pressing issue that needs immediate solution. In this article, I discussed the challenges that exist today in preserving and leveraging Chinese traditional folk ballads, with the case of bai mao shan ge as an example, and sought for posible solution. Bai mao shan ge is the collective term for the folk ballads traditionally handed down in the Bai mao area, Chang shu shi, Jiangsu Sheng, China. It was a natural tradition until early 1950s. Ever since then, however, it has been handed down with the local administrative intervention and utilized by that same power. As the traditional production processes and people’s lifestyle have changed, the tradition of bai mao shan ge is gradually fading. The local government and researchers have made efforts for inheriting, preserving and leveraging bai mao shan ge, which has some major problems. The biggest problem is that they have treated it without considering its components. Folk ballads must be treated as a composite “culture” that comprises such elements as music, literature, the places where they are sung, singers, and audience. These five elements’ interaction makes up the dynamics of folk ballads. To preserve the folk ballads, it is necessary to record and retain the “culture” of folk ballads based on the various places where they have been sung. This is also true for other areas in China today. Leveraging the folk ballads, on the other hand, is not a new issue, at least in the case of bai mao shan ge. Many attempts have been made to utilize bai mao shan ge for more than fifty years, and through that processes, some problems have become clear, which helps great deal to figure out how to make effective use of the folk ballads. In a word, preserving the folk ballads is the key. If they fail to preserve them properly, they will have less resources to leverage. Particularly, in today’s China, preservation of the folk ballads including bai mao shan ge is a pressing issue that needs immediate solution.
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