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강희정(姜熺靜) 한국미술연구소 2009 美術史論壇 Vol.- No.28
The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections. All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs. From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate. Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
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강희,김형진,유기환,홍영숙,이주원,김순겸,Kang Hee,Kim Hyung Jin,Yoo Kee Hwan,Hong Young Sook,Lee Joo Won,Kim Soon Kyum 대한소아신장학회 2001 Childhood kidney diseases Vol.5 No.1
목 적 : 많은 방광요관역류 환아에서 유전적인 경향이 보고되고있으며 외국의 보고에 의하면 20-50$\%$ 정도로 알려져 있다. 따라서 무증상 가족의 방광요관역류의 발견은 신손상을 예방하는데 중요하다. 이에 우리나라 소아에서 방광요관역류의 가족력을 조사하고 이에 미치는 여러 가지 요소를 알아보고자 본 연구를 시행하였다. 대상 및 방법 : 고려대학교 소아과에 내원한 방광요관역류 환아 중 조사에 동의한 27가족을 대상으로 하였으며 형제자매는 BUN, Cr, 소변검사, 소변배양검사, 배뇨성 요도방광조영술과 DMSA Scan을 시행하였고 부모는 배뇨성 요도방광조영술을 제외한 위의 검사를 시행하였다. 결 과 : 1) 27 가족을 대상으로 하였으며 총 79명이었다. 이 중 환아는 27명(3.03세${\pm}$3세, 1개월-9세), 형제 자매 20명(3.9세${\pm}$2.8세, 1-11세1 부모 32명(32.3세${\pm}$4.8세, 21세-42세)이었다. 2) 27가족 중 이상이 발견된 가족은 7가족(25.9$\%$), 총 8명이었으며 모두 무증상이었다. 이 중 방광요관역류가 발견된 경우는 5명이었으며 부모 중 3명은 DMSA Scan상 이상이 발견되었다. 3) 환아 중 가족의 이상이 발견된 7명을 A군 나머지를 B군으로 할 때, a. 양군의 GFR은 차이가 없었다. b. A군에서 DMSA상 더 심한 반흔을 관찰할 수 있었으며(P<0.05) 역류의 정도와는 비례하지 않았다. c. 양군에서 일측성과 양측성의 차이는 없었다. 4) 형제자매에서 방광요관역류가 발견된 경우 환아의 DMSA Scan상 이상이 발견될 확률이 높았다(P<0.05). 결 론 : 방광요관역류의 가족력은 25.9$\%$에서 발견되었으며 역류와 더불어 신장의 반흔이 발견된 경우 가족력을 보이는 경우가 많아 방광요관역류 환자 특히 신반흔이 있는 한자의 경우 증상이 없어도 가족에 대한 조사가 꼭 필요할 것으로 생각된다. Purpose : Vesicoureteral reflux is the most commonly inherited disease detected in children with urinary tract infection. The incidence of vesicoureteral reflux among siblings of children with known vesicoureteral reflux is 8$\%$ to 45$\%$ according to different authors. Family screening of a patient with vesicoureteral reflux is important in order to prevent reflux nephropathy. The purpose of this study is to determine the incidence of vesicoureteral reflux in asymptomatic family of children with vesicoureteral reflux and the factors which influence the family history. Methods : The study group consisted of 27 families of patients with vesicoureteral reflux. The total number in the group were 79 persons. BUN, Cr, urineanalysis, voidingcystourethrography(VCUG) and 99mTc -dimercaptosuccinic acid(DMSA) renal scan were performed oil tile siblings. As for tile parents the same tests were performed except the VCUG. Results : The abnormality was detected in 7 of 27 families(25.9$\%$). Vesicoureteral reflux was detected in 5 of 20 siblings and renal scar ns detected in 3 of 32 parents. In children with vesicoureteral reflux, renal scar was detected in 24 of 32 children. Between the group with the abnormality in its family(Group A) and the group without the abnormality in its family(Group B), There was no difference of creatinine clearance between two groups. More renal scars were detected in group A according to the DMSA(A:100$\%$, B:75$\%$. t-test P<0.05). There was no difference of grade of VCUG between two groups. There was no difference between one site and both sites in two groups. In tile case of tile siblings with vesicoureteral reflux, there was high incidence of renal scar in a patient with vesicoureteral reflux according to the DMSA. Conclusion : It is important to screen vesicoureteral reflux and renal scar in case of urinary tract infection to prevent reflux nephropathy. This study implies that it is necessary to screen the family of a patient with vesicoureteral reflux especially with renal scar. (J, Korean Soc Pediatr Nephrol 5 : 36- 42, 2001)
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강희 한국영미문학페미니즘학회 1998 영미문학페미니즘 Vol.6 No.1
This paper attempts to redefine the "radical" nature of Faulkner's accomplishment in his configuration of Linda's feminine- just how different, how unprecedented, and how revolutionary she is--within Southern cultural and contemporary theoretical contexts. Recently a feminist scholar like Minrose Gwin expresses the entrapment of feminine creativity within patriarchy in Faulkner's fiction. This study moves beyond Gwin's idea of the feminine entrapment to demonstrate the author's construction of a radically creative and unprecedentedly modern feminine. Refusing to surrender herself as a victim of the patrarchy, Linda in her deaf voice defiantly breaks the "vault of silence," conceives her own seductive yet threatening feminine desire by interrogating men's logic, and finally undoes and subverts the patriarchal authority, law, and language. Responding to the underlying historical flux of the new, modern South, Faulkner's "last thoughts on the subject of women" have no shadow of the conventional patriarchal feminine images--commodified, objectified, mythologized, rehabilitated, and finally silenced. He departs radically from the views shown in his earlier female characters, especially Linda's mother Eula Varner Snopes. In The Mansion, Faulkner through Linda changes the landscape of woman's space in his fictional world, tracing a trajectory from the space of victimization, betrayal and death to a newly configured feminine space of desire, autonomy and freedom.
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