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Carrageenin에 의하여 유발된 백서 슬관절염의 활액막세포에 관한 형태학적 검색
이혜수,심용식,강명재,김상호,Lee, Hye-Soo,Shim, Yong-Shik,Kang, Myoung-Jae,Kim, Sang-Ho 한국현미경학회 1994 Applied microscopy Vol.24 No.3
To investigate the morphology of the synovial lining cells, synovitis was induced by carrageenin injection into the rat knee joint cavities. Synovial membranes were excised at 1, 3, 5, 7 and 14 days, and histologic, electron microscopic, histochemical (periodic acid Schiff: PAS, toluidine blue), and enzyme histochemical (acid phosphatase: ACP, nonspecific esterase: NSE and endogenous peroxidase) studies were performed. The results are as follows: Carrageenin induced synovial membrane hypertrophy with synovial cell proliferation and granuloma formation. The proliferated synovial lining cells and macrophages in the granulomatous lesion had round to oval nuclei and large, plump cytoplasm with many phagocytotic materials and vacuoles. Electron microscopically, these cells had small number of granular endoplasmic reticulum and many lysosomes, phagosomes and vaculoes. Mitotic figures were observed at early stage of experiment. PAS and toluidine blue stains showed strongly positive reaction in the cytoplasm of the proliferated lining cells and macrophages in granulomatous lesion. ACP and NSE activities were strong positive in the cytoplasm of the proliferated synovial lining cells and macrophages in the granulomatous lesion. But endogenous peroxidase stains were negative in all prolifeative lining cells and macrophages in granulomatous lesion. Conclusively, carrageenin-induced synovitis showed proliferation of synovial lining cells and granuloma formation in deep layer. The macrophages, which consisted of the lesions and have active phagocytic function, were speculated to proliferate by mitosis of superficial synovial A cells and histiocytes in the deep layer of the synovial membrane.
Tristram Shandy: A Sentimental Journey Riding a Hobbyhorse
이혜수 ( Hye Soo Lee ) 한국영미문화학회 2010 영미문화 Vol.10 No.2
This paper reads Tristram Shandy around the issue of hobbyhorse, Sterne`s main contribution to novelistic techniques as well as his insightful understanding of the modern condition. First, Sterne represents his characters according to the principle of hobbyhorse, declaring I will draw my uncle Toby`s character from his HOBBY-HORSE. Gradually distancing himself from the Juvenalian satiric mode as well as Henry Fielding`s grand narrative and Samuel Richardson`s psychological realism, as is seen in the early episode of Yorick`s death, Sterne suggests that the best way to represent his characters lies in describing their hobbyhorses. Sterne`s foregrounding of hobbyhorse is linked with his embrace of madness as part of the modern identity. He accepts that hobbyhorse-riding, a quirky and mad habit of mind or behavior, is indispensable for some people, like Uncle Toby, to survive and get along with their otherwise unbearable lives. Uncle Toby`s hobbyhorse of waging mock battles in the bowling green saves him from the perplexing real world of language and sexuality, while the fictionality of his hobbyhorsical world is exposed by Widow Wadman. Since a hobbyhorse is by definition a world of private pleasure and eccentricity, sentimentalism comes along to bridge the two virtually incommensurable hobbyhorsical world in place of linguistic communication. Yet if Tristram Shandy fully stages sentimentalism, a cardinal part of hobbyhorse riding, it also offers an awareness of it, which is a significant development in the cult of sentimentalism in the eighteenth century. Tristram Shandy performs a version of sentimental journey where each character rides his hobbyhorse and the reader is invited to ride his/her own hobbyhorse.
이혜수 ( Hye-soo Lee ) 한국18세기영문학회 2017 18세기영문학 Vol.14 No.1
Authorship is one of the significant issues in the eighteenth-century studies partly because an author`s self-representation has been hugely altered in that period with the establishment of professional (imaginative) writership along with the cultural shifts from patronage system to literary market or from scribal culture to print culture. In this paper, I examine how the authorship of Aphra Behn, the supposedly first female professional writer in Britain, features in a varied way according to the generic distinctions of play and the new genre of the novel, particularly paying attention to her authorship as a novelist through a reading of Oroonoko. Behn`s authorship as a playwright roughly corresponds to Johnsonian authorship, who argues that writing for bread is an honorable job, as opposed to the Popean myth of author as a hero against literary marketplace. When it comes to the novel, which deals with the contradictory reality of contemporaneity in a “realist” way, however, Behn reveals a distinctive kind of authorship from that of a playwright in heroic drama or Restoration comedy with rigid decorum. She attempts to figure out the place of the novelist as both a passive participant and an active historian/artist, as we see in Oroonoko, who might be helpless in an active intervention in the contemporary reality yet still able to enact empowerment as a writer through her female pen.