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김병주 ( Byoung Ju Kim ),이인희 ( In Hee Lee ),이덕형 ( Duk Hyung Lee ),배길한 ( Gill Han Bai ),공석준 ( Suk Jun Kong ),이선화 ( Sun Hwa Lee ),문해란 ( Hae Ran Moon ),이경률 ( Kyoung Ryul Lee ),이준영 ( Jun Young Lee ),박승규 ( Se 대한결핵 및 호흡기학회 2006 Tuberculosis and Respiratory Diseases Vol.60 No.4
목적 : 지난 3년간 전국적으로 항결핵제에 대한 감수성검사를 시행 받은 환자의 실제 수를 파악함으로 국내 다제내성 결핵의 현황을 파악하고자 하였다. 방법 : 2000년 1월부터 2002년 12월까지 3년간 국내의 결핵 약제감수성검사를 시행하고 있는 7개 국립 및 민간검사기관에서 시행된 검사결과들을 후향적으로 조사하여 이를 근거로 국내 결핵환자 중 다제내성 결핵환자의 연도별 현황 및 추이 등 다제내성 결핵 환자의 실제현황을 조사,분석하였다. 결과 : 6개의 검사기관은 절대농도법을 사용하였고 한 개의 기관에서 비율법을 사용하였다. 2000년부터 2002년까지 매년 18,071, 19,950, 그리고 21,919건의 검사가 시행되었다. 한 가지 이상의 약제에 내성으로 진단된 내성결핵 환자의 수는 2000년 6,338명에서 2002년 7,409명으로 16.9% 증가하였다. 약제감수성검사가 시행된 전체 환자들 중 내성결핵으로 진단된 환자의 비율은 2000년 35.1%, 2001년 34.5%, 그리고 2002년 33.8%이었다. 다제내성 결핵으로 확인된 환자는 2000년에 3,708명에서 2002년 4,245명으로 14.5%증가하였다. 결론 : 2002년에 약 4,000여건의 새로운 다제내성 결핵이 약제감수성검사에 의해 확인되었으며 매년 증가하는 경향을 보였다. 검사실간의 약제감수성검사의 표준화 작업과 보다 효과적인 다제내성 결핵의 관리가 요구 된다. Purpose : Multidrug-resistant tuberculosis (MDR-TB) is an emerging threat to human beings. However, there is little data on the current status of MDR-TB in Korea. This study investigated the current status of MDR-TB in Korea using a survey of all the data from drug susceptibility tests (DST) performed across the country over the last three years. Method : The DST results between Jan. 2000 and Dec. 2002 from 7 laboratories, which were in charge of all antituberculous DSTs across the country as of March 2002, were collected and analyzed to determine the actual number of drug-resistant or MDR-TB patients, annual trend, degree and pattern of resistance against anti-TB drugs, etc. Results : Six laboratories used the absolute concentration method for DST and one used the proportional method. 59,940 tests had been performed over the 3 year study period. The number of DST performed annually was 18,071, 19,950, and 21,919 in 2000-2002, respectively. The number of resistant tuberculosis patients (resistant against at least one anti-TB drug) had increased by 16.9% from 6,338 in 2000 to 7,409 in 2002. The rate of resistant tuberculosis among all DST results was 35.1% in 2000, 34.5% in 2001, and 33.8% in 2002. The number of MDR-TB patients (resistant against at least both isoniazid and rifampin) showed an increasing trend (14.5%) from 3,708 in 2000 to 4,245 in 2002. Conclusion : Approximately 4,000 MDR-TB cases are newly identified by DST annually and the number is showing an increasing trend. This study suggests that in order to cope with the current MDR-TB situation, the DST methods will need to be standardized and more aggressive measures will be required. (Tuberc Respir Dis 2006; 60: 404-411)
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건일로딘 정(미결정에토돌락 200 mg)에 대한 에토돌 정의 생물학적동등성
이정애,이윤영,조태섭,박영준,문병석,김호현,이예리,이희주,이경률,Lee, Jung-Ae,Lee, Yun-Young,Cho, Tae-Seob,Park, Young-Joon,Moon, Byoung-Seok,Kim, Ho-Hyun,Lee, Ye-Rie,Lee, Hee-Joo,Lee, Kyung-Ryul 한국약제학회 2004 Journal of Pharmaceutical Investigation Vol.34 No.4
A bioequivalence of $Etodol^{TM}$ tablets (Yuhan corporation) and $Kuhnillodine^{TM}$ tablets (Kuhnil Pharm. Co., Ltd.) was evaluated according to the guideline of Korea Food and Drug Administration (KFDA). Single 200 mg dose of etodolac of each medicine was administered orally to 24 healthy male volunteers. This study was performed in a $2{\times}2$ crossover design. Concentrations of etodolac in human plasma were monitored by a high-performance liquid chromatography. $AUC_t$ (the area under the plasma concentration-time curve from time zero to 24 hr) was calculated by the linear trapezoidal rule method. $C_{max}$ (maximum plasma drug concentration) and $T_{max}$ (time to reach $C_{max}$) were compiled from the plasma concentration-time data. Analysis of variance was performed using logarithmically transformed $AUC_t$ and $C_{max}$. No significant sequence effect was found for all of the bioavailability parameters. The 90% confidence intervals of the $AUC_t$ ratio and the $C_{max}$ ratio for $Etodol^{TM}/Kuhnillodine^{TM}$ were 1.01-1.10 and 0.87-1.06, respectively. This study demonstrated a bioequivalence of $Etodol^{TM}$ and $Kuhnillodine^{TM}$ with respect to the rate and extent of absorption.
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사진 이미지 리터러시 교육의 필요성과 가능성 -유아교육 현장에서 사진의 교육적 효과를 중심으로-
이경률 ( Kyung Ryul Lee ),공주희 ( Ju Hee Kong ) 한국사진학회 2010 AURA Vol.0 No.23
Today`s modern information society has various communication structures unlike the letter-based information society in the past which had just one communication structure. And as visual language plays an important part of communication, the society needs to have skills of proper interpretation and use of images. In this context, this study inquires into necessity and possibility of photographic image literacy education with the focus being put on early childhood education. An effective approach and understanding of visual images can only be obtained through systematic education. More specifically speaking, the literacy education is not just for children to repeat what they know., but it will be an excellent education which helps them develop realistic cognitive abilities and to improve concentration and to consider new ideas. Because photographic image literacy maximizes the effect of expression and reading of visual languages and leads to imaginative reconstruction by which children can make analogical inferences. This self-oriented education is the most important in practical and open education. That is why teaching methodology in early childhood education changed from written language-based one to visual language-based one. However, our education has yet to catch up with rapidly-changing environment. We have to adapt ourselves to ever-developing technical society through media associated with the photos and education. Fortunately, photo education is being actively discussed recently and teachers become more interested in photos as a medium of education. In addition, photographic image literacy education is being conducted in various areas.
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이경률(Lee Kyung-Yul) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-
This theory intends to discuss modern plastic art utilizing pictures as concrete situation setting or artist's expression tools in actual. However, the theory will be analyzed focused on not media but dual discourse (matter-shape, or ground and its directive objection) which is understood as common principle of art. Based on conceptual side, it is because plastic art is an artistic action as a specific matter first caught by artist is revealed in concrete shape using artistic media. And so plastic art is not a material meaningful word which designates totally all the genres of art, but virtually directive meaningful art in the point of modern post-structuralism in which art is understood as matter-shape principle. Photos as picture are expression tools for artists to deliver their message, as well as basically such photos intend to reveal the fact of existence which is irrefutable. For example, news photograph-made pictures of Andy Warhol and photobilders of Gerhard Richter were to remerge so as to trace back historical truth with time. Also, their artistic intention is not in critic and aggressive sight but the 'observer's attitude without any prejudice and justification. On the other hand, pictures as photos intend to recover subjective and personal view which has been excluded for a long time rather than to take neutral position for society and history, and catch internal existence in ordinary case which we haven t discovered yet in collective sight and badly unified view. This ordinary existence can be shown only as plain and old-fashioned form all around because we are always used to social events and justice, neither events nor justice in actual. However, all these things are the only objects which can be remerged in neutral photos. Neo-pictorialism intends to confuse own area of photos and pictures which have been fixed as one genre for a long time rather than to develop a new genre of photo and picture as real art. As a result, this means that purity (purification) commented by Clement Greenberg is wrong, at the same time this means to recover traditional beauty dropped out by avant-garde. Also, while pictorialism, at early twentieth century, was regarded as separatist movement, in other word, the straight photos was regarded as loss of aurabased on the historical view, neo-pictorialistes try to express visually visual translation refuting artists personality, unique works and real reflection, that is, to recover 'aura'. Finally, modern neutral photos, formative photos formed by Germanic Bernd and Hilla Becher, and their followers threw away absolute recording ability and lyrical side of photos, on the other side, they chose ordinary and old-fashioned side contrary to 'poses' and 'events', and showed a side of vacant existence kept on being in ordinary non-time.
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금기와 터부 그리고 사진 - 현대 사진예술에 나타난 금기의 재현
이경률 ( Lee Kyung-ryul ) 한국기호학회 2017 기호학연구 Vol.51 No.-
금기의 재현은 회화의 역사만큼이나 오래되었다. 역사적으로 억압된 욕구를 드러내는 금기와 터부는 일부 위대한 화가들에 의해 재현되었는데 대부분 우회적인 방식으로 은밀히 드러나지만 여전히 감시의 그늘에 있었다. 그러나 18세기 인간 본성에 관한 내적 탐구가 시작되는 근대 미술에 와서 억압된 욕구는 감시와 통제의 울타리를 넘어 점진적으로 드러난다. 특히 19세기 사진발명 이후 사진의 대중화는 단순한 현실의 복제를 넘어 과거와는 다른 방식으로 금기의 재현을 가속화시켰다. 왜냐하면 무한 복제가 가능한 사진은 응시자에게 반박할 수 없는 장면의 신빙성(ca a ete)을 주면서 오랫동안 대중들이 볼 수 없었던 은밀한 장면을 전파의 형태로 무더기로 보여주기 때문이다. 그래서 대중과 소통하는 금기의 재현은 사실상 이때부터라고 할 수 있다. 현대 사진예술에서 금기의 재현은 가장 중요한 예술적 담론들 중 하나가 되었고, 특히 포스트모더니즘 계열에 속하는 많은 작가들은 실제 사진을 가장 중요한 매체로 활용한다. 왜냐하면 사진은 단순히 이미지의 결과가 아니라 상황설정, 역사적 구성, 미장센, 퍼포먼스 등 작품의 제작과정에서 실행자가 되기 때문이다. 현대 사진예술에서 나타나는 금기의 재현은 크게 네 가지 유형으로 나타난다. 우선 정치 이데올로기 영역에서 금기가 집단 사회의 공공연한 비밀이나 역사적 퇴행으로 나타날 때, 사회적인 금기는 대부분 대중의 알 권리보다 다수의 행복을 위한 윤리적 문제와 선정성에 관계된다. 집단 공동체의 생존과 존속을 위해 가장 오래된 금기는 종교와 성에 관계하는데, 작가들이 재현하는 종교적 금기는 동성애, 낙태, 성적 결정권, 인종 문제 등 교회의 절대 권위와 복종 그리고 교리에 대한 맹목적인 믿음에 항거하는 예술적 제스처로 이해된다. 끝으로 현대 조형사진가들이 사진을 활용해 노골적으로 드러내는 성적 금기의 재현은 집단 사회의 상품화된 성과 경직된 성교육 게다가 성에 대한 자기 결정권까지 박탈하는 오늘날 왜곡되고 억압된 성에 대한 숙고이기도 하다. The representation of ban has been long enough to be the history of painting. The prohibition and taboo, which reveal the historically repressed desires, were revived by some great painters. It is mostly exposed secretly as a roundabout method, but was still put in the shadow of surveillance. However, with entering the modern art that is begun an internal inquiry into human nature in the 18th century, the repressed desire is gradually unveiled beyond the fence of surveillance and control. Especially following the invention of photograph, the popularization of photograph accelerated the reappearance of ban with a different method from the past beyond the simple duplication of reality. That is because the photograph available for infinite replication shows private scenes in a pile, which couldn`t be seen by the public for a long time, in the form of propagation, while giving credibility(ca a ete) in the irrefutable scene to starers. Thus, the revival of ban, which communicates with the public, can be considered to be from this time in fact. The representation of ban in contemporary photograph art became one of the most important artistic discourses. In particular, many artists who belong to the postmodernism series actually utilize photograph as the most important medium. That is because a photograph is not merely an outcome of image, but becomes a practician in the process of making a work such as situation posing, historical composition, mise-en-scene, performance, etc. The representation of ban, which is shown in contemporary photograph art, appears largely with four types. Above all, when the ban in the sphere of political ideology is indicated as an open secret or historical regression in group society, the social ban is mainly related to ethical issue and sensationalism for the happiness of majority rather than a right to know in the general public. The oldest ban for survival and persistiveness in group community is relevant to religion and sex. The religious ban, which is revived by artists, is understood as artistic gesture that fights against the absolute authority and obedience of a church such as homosexuality, abortion, sexual decision, racial issue and against a blind faith in religious dogma. Finally, the representation of sexual ban that the contemporarily modeling photographers plainly disclose through utilizing a photo is also the deliberation on the distorted and suppressed sex of the day that deprives even the self-determination of sex on top of the commercialized sex and the inflexible sex education in group society.
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이경률 ( Lee Kyung-ryul ) 한국기호학회 2021 기호학연구 Vol.66 No.-
오랫동안 우리는 재현예술에서 모더니즘의 형식주의 즉 예술 작품의 공통된 형태와 양식 그리고 그 보편적인 메시지에 익숙해 왔다. 특히 전통적인 그림에서 인물, 풍경, 정물 등의 장르가 만들어 놓은 정형화된 메시지는 누구에게나 소통되고 쉽게 해석되는 구조를 가진다. 그러나 모든 예술 작품이 이러한 선형적 구조를 가지지는 않는다. 특히 탈-모더니즘과 포스트모더니즘 계열에 속하는 작품에서 예견치 못하는 비선형적인 특징을 가진다. 비선형적인 메시지는 사진으로 제작된 정물에서 분명히 드러나는데 그 이유는 우선 정물사진은 다양한 번역이 가능한 그림의 경우와는 달리 해석 불가능한 사진의 지표적인 속성을 가지기 때문이다. 역사적으로 정물사진의 예측할 수 없는 비선형적 특징은 사진발명 이후 19세기 실험사진가들이 남긴 해석 불가능한 사적인 정물에서 잘 드러난다. 이러한 비선형적 특징은 또한 20세기 초 으젠 앗제의 정물 같은 사진과 오브제를 응시자의 상상을 유도하는 자극-신호로 활용한 초현실주의자들의 정물사진에서 더욱 심화되어 나타난다. 현대 정물사진에 나타나는 비선형적 특징은 포스터모더니즘이 보편화되는 1980년대 이후 탈-구조, 탈-형식주의, 탈-장르와 함께 개념적인 일탈로 나타난다. 정물사진은 이때 전통 정물화에서 분명히 드러나는 의미의 충만과 메시지의 명료함은 점진적으로 사라지고, ‘비평을 위한 조형적 도구’로 활용된다. 또한 정물사진은 모더니즘 미학의 해석학적 상징을 넘어 사진의 본원적 기능인 기록과 증거를 활용하여 그림의 형태로 나타난다. 이럴 경우 사진은 더 이상 장르 혹은 전통 매체로서의 사진이 아니라 개념적인 측면에서 의미의 혼동을 야기하면서 궁극적으로 비선형적인 예술적 전략을 위한 포스트모더니즘의 실행자 역할을 한다. For long time, we have been accustomed with the formalism of modernism in representation art, namely, the common form, style and universal message of artistic work. Especially, the stereotyped message made by genres such as person, landscape, still life, etc in traditional picture has structure that can be communicated to and easily interpreted by all. However, all artistic works do not have such linear structure. Especially, works belonging to anti-modernism and postmodernism have unpredicted nonlinear characteristics. Nonlinear message is obviously seen in still life produced in photo, as unlike picture that can be diversely translated, still photo has uninterpretable index attributes of photo. Historically, the unpredictable nonlinear characteristics of still photo is well seen in the uninterpretable private still life left by the experimental photographers in the 19<sup>th</sup> century after the invention of photograph. Such nonlinear characteristics are further intensified in the still photo of surrealists who utilized the photo and objet of still life of Eugene Atget at the beginning of the 20<sup>th</sup> century as stimulation-signal which induced the imagination of starer. Nonlinear characteristics seen in contemporary still photo has emerged as conceptual deviation with anti-structure, anti-formalism, anti-genre since 1980s when postmodernism was universalized. The fullness of meaning and perspicuity of message which are clearly seen in traditional still picture are gradually disappearing and used as ‘formative tool for criticism.’ Further, still photo has taken the form of picture by utilizing record and evidence, the original function of photo, transcending the interpretative symbol of modernism aesthetics. In this case, photo is no longer genre or traditional media, but ultimately plays the role of postmodernism for artistic strategy, causing confusion of meaning in the conceptual aspect.
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