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서영철,임성우,신길조,이원철 한국한의학연구원 1996 한국한의학연구원논문집 Vol.2 No.1
This study was carried out to investigate the tracheal muscle relaxation of water extracts of three kinds of Coptis thizoma and also compare of Coptis rhizoma, in isolated rat tracheal smooth muscle. As a result, Coptis chinensis showed significant tracheal muscle relaxation on KCI-induced contraction and more markedly on carbachol-induced contraction in close-dependent manner. Coptis japonica exhibited also tracheal muscle relaxation on both contraction with slightly weaker activities than those of Coptis chinensis. The activities of the root hair of Coptis chinensis were the most weakest in three thizomas. Berberine and palmatine had strong tracheal muscle relazation, especially, on carbachol-induced contraction, however, their activities on KCI-induced contraction were weaker than that of Coptis chinensis. The inhibitory effects of three kinds of Coptis rhizoma on the contraction by KCI and carbachol were inbestigated to explain the process of their tracheal muscle relaxation. All rhizomas inhibited the contraction by both agents, among them, Coptis japonica showed the most significant effect, so indicating the tracheal muscle relaxation of Coptis rhizoma may be concerned with the blocking of muscarine receptor and Ca²+ channel.
서영철 새한영어영문학회 2002 새한영어영문학 Vol.44 No.1
포스트모던 생태주의서 영 철생태주의 관련 논쟁은 자연을 어떻게 이해하는가 하는 문제로부터 출발한다. 자연이 인간 가치의 중심이지만, 인간은 단지 자연의 일부라는 전제에서 인간과 자연간의 관계는 인간과 환경 그리고 그 결과로 생겨나는 생태에 관한 문제로 이어지게 된다. 생태에 대한 인식은 시대에 따라 변해 왔으며, 특히 중세 시대에 나타난 두 가지 견해는 현재 직면하고 있는 생태 문제를 이해하는 데 도움이 된다. 두가지 견해란 첫째로 자연을 정복의 대상으로 보는 기독교적 관점이고, 둘째로 St. Francis Assis의 자연과의 조화를 강조한 관점이다. 전자는 모더니티의 자연관과 일치하며, 후자는 포스트모던 혹은 생태주의의 관점에 더 가깝다. Daniel White는 저서 Postmodern Ecology에서 후기구조주의 관점으로 포스트모더니즘과 생태주의 문제를 다룬다. White는 후기구조주의의 특성인 difference/diff rance, rhizome, intertextuality 그리고 the decentering of the subject에 대한 연구를 통하여 후기 구조주의와 생태주의 사이에 내재하는 공통점을 찾아 보려한다. 또한 후기구조주의와 포스트모더니즘을 구별 없이 동일하게 보고 있는 White는 후기구조주의와 생태주의간의 상관 관계를 통하여 포스트모더니즘과 생태주의간의 관계를 밝히려고 시도한다. 이와 아울러 Andermatt Conley도 Ecopolitics에서 프랑스 후기구조주의자들의 저작에 나타난 생태주의적 내재적 특성을 연구하여 생태여성주의(ecofeminism)에 이르는 과정을 보여준다. 바로 이 생태여성주의는, 생태주의와 여성주의가 갖고 있는 포스트모던적 특성을 공유하고 있으며, 동시에 모더니즘을 비판하는 과정에서 생겨났음을 보여준다. 그러나 Patrick Murphy는 그의 저서 Far Afield의 "Ecofeminism and Postmodernism"에서 두 이론이 지양하는바 생태여성주의는 미래지향적이고 포스트모더니즘은 과거 지향적이라고 규정하며 차이점을 부각하려 한다. 이러한 Murphy의 부정적 견해에도 불구하고, 모더니즘을 비판하면서 생겨난 후기구조주의의 특성인 antifoundationalism, difference/diff rance, rhizome, intertextuality 그리고 the decentering of the subject등을 공통으로 내재하고 있는 두 이론의 관련성을 부인할 수 없다. 따라서 포스트모더니즘이 2차 대전 이후 생긴 여성주의, 후기식민주의 등과 같은 여러 이론에 지대한 영향을 끼쳤듯이, 현재 우리가 당면하고 있는 생태문제를 다루는 생태주의도 포스트모더니즘과 밀접한 관계를 갖고 있음을 보여준다고 하겠다.
알프레드 테니슨의 "Maud"에 나타난 죽음의 이미지와 Archetypes
서영철 慶星大學校 1987 부산수산대학 논문집 Vol.8 No.4
“Maud”was published after In Memoriam which the English public and the critics could not respond to properly. The reasons why the Victorians could scarcely evaluate it might result from the psychological subject-matter of the poem. The poem begins with hero's hatred of society, nature, and man. His hate, motivated by his father's suicide, accelerates his sense of isolation after his mother died. Whin Maud returns to the neighbourhood, the hero exposes this hateful mood. But after he wins her love, the hero is reconciled to society, nature, and man. By contrast, the duel which Maud's brother starts off results in the hero's fall into deep despair, and finally madness. Before he recovers, the hero has to undergo a four-stage psychological experience. Images such as death, rebirth (recovery) or fear are clustered around the Feminine or the brother-killing archetype. The death images are piled up on the hero's psyche : his childhood memory of father's death in relation to the harshness of modern times and mother's. Hence he falls into madness in the due course, and Maud as the Feminine recuperates him from it. When her brother intervenes in their love, and antagonizes the hero in the duel, it is inevitable that either of them should be eliminated. The brother-killing(father substitude) archetype is strongly echoed in their confrontation. In the poem, the Feminine and some other archetypes play important roles of constructing the hero's psychological transmutation from sanity to madness, and vice versa. “Maud”raises a moot point about the ending in association with structure ;cyclical or apocalyptical. No one can reach any definite conclusion. Nevertheless, while Tennyson had kept the Christian mythic pattern (apocalyptical or linear) from his childhood, he dealt mostly with pagan myths (cyclical) in his poems. The ambiguity from these two different traditions may be characteristic of his artistic creation whether appreciated or puzzled by the Victorian reader.
Post-postmodern Theories, Modernism Redux and the Post-Postmodern Framework
서영철 한국영어영문학회 2020 영어 영문학 Vol.66 No.1
Since the 1990s, postmodernism has undergone the distinctively visible changes in the face of globalization and digital technology, as some theorists and critics claim that postmodernism is dead. Consequently, they have proposed many post-postmodern theories on this issue: remodern�ism, neomodernism, trans-postmodernism, performatism, altermodernism, digimodernism, metamodernism, transmodernism, and post-postmodernism not as a comprehensive term but as a cultural theory. As revealed from the rise and development of post-postmodern theories, they emerge as a result of the return to modernism. Therefore, modernism redux is examined to discover how it interacts with postmodernism in each theory: the return to modernism; and the integration or synthesis of modernism and postmodernism. In this context, metanarratives, one of the modern attributes, work as a common factor in the post-postmodern theories. From this study in terms of metanarratives, the post-postmodern framework, while echoing Charles Jencks’s critical modernism and Philip Galanter’s complexism, is expected to reach the goal of unveiling how the modern and postmodern attributes are integrated and synthesized into a new cultural entity on a new dimensional stage through interaction at the time of a paradigm shift. In consequence, the post-postmodern framework is revealed as an evolutionary system where the modern and postmodern attributes operate to create post-postmodernism, a new cultural environment. In addition, this mechanism of evolutionary process within the post-postmodern framework will continue to shape the cultural sensibilities years to come.
A Search for the (Postpostmodern) Framework of Everything and the Epic of Evolution
서영철 새한영어영문학회 2015 새한영어영문학 Vol.57 No.3
The early postpostmodern art movements demonstrate their search for the return of modern sensibilities like reality and universality, and the rejection of postmodern art. Seen from this line of discussion on the transition of social and cultural sensibilities, Jencks’s cosmogenic schema of modernisms in a continuum is a framework for the new scene of transition, with the constituting components of performativity through (re)combination, and inter(re)action. Within this framework, the hierarchical stages of cosmic evolution of the inorganic as well as the organic worlds—space and time—from the Big Bang to human culture have evolved through complexity/complexification: time of diachronicity and synchronicity simultaneously (arrow of time and Fraser’s hierarchically nested time) and space (of horizontal and vertical stages of matter/space in evolution). Now in the twenty-first century, the framework of directionality and integration can work as the framework of everything at every level of cosmic evolution, including humans.
Post-Postmodern Theories: A New Modernity
서영철 새한영어영문학회 2011 새한영어영문학 Vol.53 No.3
Cultural sensibilities beyond postmodernity have appeared in the constantly changing society. What, then, comes after postmodernism? Roughly since the year 2000, each post-postmodern theory has approached the issue beyond postmodernism with its unique perspective in its refutation of postmodernism. First, as seen from a semiotic/dialectic perspective, performatism and critical modernism are future-oriented, but still reminiscent of modernism. Second, hypermodernism and supermodernity present society and culture against postmodernism, toward modernity, in terms of excess. Third, digimodernism and automodernity have strong links with modernity produced by digital innovations. From the three categories of post-postmodern theories, a new modernity as the post-postmodern common factor is deduced. First, they reclaim certain modern tenets as seen from a semiotic/dialectic perspective. Second, post-postmodern theories are formulated in their adoption of cultural sensibilities produced by digital innovations. As a result of change, postmodernism as cultural concept has lasted only a shorter period. On the other hand, postmodernity will not disappear for several hundred years just as modernity still lives on under the postmodern circumstances. If so, who can offer any definite answer for what post-postmodernism is? Or should we wait more for a definite theory explaining what the current post-postmodernism is?