http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
정상 액체 크로마토그래피를 이용한 taxane 으로부터 taxol 의 분리
장경곤,노경호,정성택 ( Kyung Kon Chang,Kyung Ho Row,Sung Taik Chung ) 한국공업화학회 1997 공업화학 Vol.8 No.2
항암제로 탁월한 효능이 있는 taxol을 정상 액체 크로마토그래피를 이용하여 주목나무의 추출물에서 분리하였다. Taxol을 분리하기 위해 시료 주입량은 5μl에서 100μl로 변화시키고, 이동상 유속은 1ml/min로 고정하여 일정 용매법으로 실험을 하였다. 실험에 사용된 이동상은 헥산, 에탄올, 메탄올, 1-프로판올, 이소프로판올이었다. Taxol과 유사한 성질를 갖는 표준시료 cephalomannine, taxol, 10-deacetyltaxol의 혼합물에서 taxol을 분리하였다. Cephalomannine, taxol, 10-deacetyltaxol 혼합물의 분리 실험 결과로 taxol의 분리 최적 조건은 2성분계에서 헥산/에탄올의 부피 조성비가 96/4이며, 3성분계에서는 헥산/1-프로판올 /메탄올의 부피 조성비가 96/2/2이었다. 분리시간은 2성분계에서 80분인데 비해 3성분계에서는 50분으로 적은 용매를 사용하여 분리할 수 있었다. 위에서 얻는 실험조건으로 실제 주목나무의 추출물 1 μg에서 taxol를 분리할 수 있었다. Taxol which is recognized as a powerful anticancer reagent was extracted from yew extract and separated by NP-HPLC ( Normal-PhaseHigh Performance Liquid Chromatography). The experiments were performed in the isocratic mode with 5μl to 100μl injection volume and 1ml/min mobile phase flow rate. The major mobile phase was hexane and small amounts of ethanol, methanol, 1-propanol and isopropanol were added to change the retention behavior. Prior to a real sample, the artificial mixture of taxol, cephalomannine and 10-deacetyltaxol was tested. They are hard to be separated because of similar chemical structures. The experimental results showed that the proper composition of mobile phase for separating the three components was found 96% hexane and 4% ethanol(vol.%) or 96% hexane, 2% 1-propanol and 2% methanol(vol.%). Compared to the run time of 80 minutes for the binary system, the mixture was separated within 50 minutes with the less amount of mobile phase for the ternary system. Finally, lμg of taxol was separated from yew tree extracts under the optimum operating conditions.
張景昆 연민학회 2024 연민학지 Vol.41 No.-
宣祖時期打破朝鮮詩壇二百年學蘇的局面, 由宋轉唐, 並孕育了“三唐”詩人這一宗唐創作高峰, 是朝鮮時代唐詩接受的關鍵時期。 其唐詩接受既與其後光海君、仁祖時期呈現不同的階段性特點, 也與中國本土的唐詩接受不同。 首先, 在宗唐緣起方面, 既得益於本土湖南詩壇李後白與文衡朴淳的引導, 又受到元明唐詩學影響, 如唐詩選本≪唐詩絕句≫≪唐音≫、格法著作≪詩法源流≫≪文筌≫以及李東陽等。 從文集流傳時間差以及取法對象、風格、用典、詩體的差異來看, 明代前後“七子”並非宣祖詩人的宗唐緣起。 朝鮮詩人申翊聖、金昌協對此有明確判斷。 其次, 宣祖時期的唐詩接受具有很強的實踐屬性, 重創作、輕理論。 打破宋詩的以學問爲詩、以議論爲詩, 重性情之真與性情之正, 少用典而重興象的建構, 並注重詩歌的聲韻美。 再次, 關於宣祖詩壇對唐詩的摹擬方式, 創作上以集句、次韻、效體(以高敬命爲代表)或沿襲唐人詩題(以許蘭雪軒爲代表)爲接受標誌, 同時包括對唐代詩人觀物方式、情感模式、詩法、風格、意境與審美理想的深層接受。 總體上追求的是唐詩格調的純粹, 宗唐得似, 其背後是嚴辨華夷、欽慕中华的文化心態。 最後, 關於唐詩典範的選擇, 接受媒介具有重要導向作用, 如蘇軾與朱熹共同促進了韋應物詩在朝鮮的經典化, 並認爲學杜不等於學唐。 During the Xuanzu period of the Joseon Dynasty, poets began to emulate Tang Poetry instead of Song Poetry, coinciding with the peak of Santang Poets’ fame and literary excellence. The period is momentous in the history of accepting Tang poetry, differing significantly from both the Guanghaijun and Renzu periods and developments in China. Firstly, the acceptance of Tang Poetry during this period was influenced significantly by Hunan poets of the Joseon Dynasty, especially Lee Houbai and Park Soon. It was also shaped by the Tang Poetry studies during the Yuan and Ming dynasties, including the Tang Poetry anthology Tang Poetry Jueju or Sound of Tang Dynasty, and prosody works such as The Source of Poetry Practice or Wenquan. The famous poet Lee Dongyang further contributed to this influence. It is crucial to emphasize that Qianhou Qizi in the Ming Dynasty was not the cause of Santang Poets, not only due to the time difference in the collection’s circulation but because their learning objectives, style, literary quotations, and literary form were different. Clear judgments on this matter were made by Joseon poets Shen Yisheng and Kim Changxie. Secondly, emphasizing writing over prosody theory, the poetry of this period reflected genuine and sincere emotions with fewer literary quotations and a focus on imagery. The pursuit of the rhyme beauty of poetry distinguished it from Song Poetry, which paid attention to knowledge and discussion. In addition, there are two signs that poets of the Xuanzu period emulated Tang Poetry. Firstly, they wrote Jiju, Ciyun, or Xiaoti represented by Gao Jingming. Secondly, they adopted titles of Tang Poetry represented by Xu Lanxuexuan. Additionally, they learned from the observation of the world, emotional modes, poetic methods, styles, artistic conceptions, and aesthetic ideals of Tang Dynasty poets. Collectively, they sought the purity of Tang poetry style with a cultural mentality that admired ancient Chinese culture. Last but not least, accepting media played an important guiding role in selecting a model from Tang poetry. For example, Sushi and Zhuxi played a significant role in promoting Wei Yingwu’s poems, which subsequently became classics in the Joseon Dynasty. They also distinguished between learning from Dufu and learning from Tang Poetry.
張景昆(Kyeong-Gon, Jang) 고려대학교 한자한문연구소 2014 동아한학연구 Vol.- No.9
《시관(詩觀)》은 조선시대 정조 16년(1792)에 편찬된 중국 상고시대부터 명대(明代)에 이르는 시가선집으로, 모두 560권이다. 현전하는 《시관총록(詩觀總目)》 제1책, 4책 및 《시관서(詩觀序)》, 그리고 정조 《홍재전서(弘齋全書)》의 《군서표기(群書標記)》 및 《일득록(日得錄)》 등 자료에 의하면, 《시관》의 편찬과 관련된 문제들을 추론할 수 있다. 중국의 《고시기(古詩紀)》, 《전당시(全唐詩)》, 시인들의 개별 문집 등이 그 문헌의 유래가 된다. 《군서표기》에 실려 있는 의례(義例)와 서문, 이덕무가 찬한 시인의 소전은 《전당시》, 《송시초(宋詩?)》, 《명시종(明詩綜)》 등을 참고한 것이다. 시를 선별하여 ‘미만부천(靡曼浮淺)’하고 ‘초쇄(?殺)한 소리’를 축출하고 당시의 문풍을 바로 잡아, 일정한 정치 사회적 기능을 아울러 지녔다.