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권경희 ( Kwon Gyeong Hui ) 한국연극교육학회 2003 연극교육연구 Vol.9 No.-
Popular theatre has in some degree, been underestimated in comparison to, so called, `the high theatre` or `the genuine theatre` without any legitimate definition. Under the overflowing of multimedia, information, consumerism, epicureanism, egocentrism etc., which implicate the contemporary socio-cultural symptoms, the very concept of `popular` should be altered in its categorical distinction and its implication. The term `popular` used to mean active and defiant subjects, and thus, particularly in the dawn of the 20 century till the 1980s. Recently however, definition of `popular`, particularly concerning to the prevailing popular culture, seems more evasive and is in need of clarification. The term can be defined as being obedient to the ruling structure on the one hand, and resistant on the other. Gramsci, a theorist of cultural studies, suggests critical attitudes for grasping the entity of `popular` in culture, which he explains by the term `public area`. As long as the term `popular` denotes the audience the theatre should be a representation about, the very audience who are also the receiver and consumer, cannot be treated in a trivial manner. This research analyses the reasons why popular theatre should be discussed today and what it represents. The research examines the socio-cultural context of the rapid changes in society, which called forth new values, thought process and the bases of the circumstances of living. Not only in its form and style, but the functions and implications of popular theatre may have to be changed, in accordance with the changing external conditions and internal appropriateness of the term popular. From John Dewey`s pragmatic aesthetics and Susan Sontag`s new term of `camp`, the possibilities of approaching and identifying popular theatre can be euphemistically guided. As can be seen through their definitions of arts as prolongation of life which may give us a very different perspective. In relation to the possibilities and limitations of popular theatre, vulgarity, popularity and conventionality, the major characteristics of popular theatre, can be defined. Although they have been rejected in the past, they should be reconsidered in new light. These characteristics, however, denote two separate perspectives: the negative stand, escape or compromise with reality, where self-intoxicating may be pointed out: on the positive side, the dynamic spirit. As stated by Gramsci, if culture is believed to be the place where both cultural hegemony and counter-hegemony co-exist, it seems obvious what popular theatre`s role may be.
권경희 ( Kwon Gyeong Hui ),김현정 ( Kim Hyeon Jeong ),양봉준 ( Yang Bong Jun ),백승훈 ( Baeg Seung Hun ),이명수 ( Lee Myeong Su ),박병현 ( Park Byeong Hyeon ),조정구 ( Jo Jeong Gu ) 대한내과학회 2004 대한내과학회지 Vol.66 No.2
Electrocardiographic abnormalities commonly associated with hypopituitarism are low QRS voltage, ST-segment depression, inverted T waves and a prolonged QT interval. Although the mechanism remains unclear, glucocorticoid therapy, an intracelluar-extracell
권경희 ( Kwon Gyeong Hui ),이창훈 ( Lee Chang Hun ),최경숙 ( Choe Gyeong Sug ),백승훈 ( Baeg Seung Hun ),이명수 ( Lee Myeong Su ),박병현 ( Park Byeong Hyeon ),조정구 ( Jo Jeong Gu ) 대한내과학회 2004 대한내과학회지 Vol.66 No.2
Hyperthyroidism has been associated with changes in muscle function such as thyrotoxic myopathy, thyrotoxic periodic paralysis and thyroid opthalomopathy, but rarely rhabdomyolysis. Usually serum creatinine kinase is either normal or low in hyperthyroidis
백서 경동맥 손상 모델에서 신생내막형성에 미치는 Erythropoietin 효과
김기훈 ( Kim Gi Hun ),권경희 ( Kwon Gyeong Hui ),백승훈 ( Baeg Seung Hun ),박병현 ( Park Byeong Hyeon ),조정구 ( Jo Jeong Gu ) 대한내과학회 2003 대한내과학회지 Vol.65 No.5
Background : Neointimal hyperplasia is major cause of instent restenosis in coronary artery and stenosis in arteriovenous fisula for hemodialysis. Erythropoietin is known to show proliferative effect on vascular smooth muscle cells in vitro study, but the