아세트아미노펜 독성평가를 위한 μCCA-μGI 디바이스의 개발

장정윤,Chang Jung-Yun,Shuler Michael L. 한국약제학회 2006 Journal of Pharmaceutical Investigation Vol.36 No.4

Deficiencies in the early ADMET(absorption, distribution, metabolism, elimination and toxicity) information on drug candidate extract a significant economic penalty on pharmaceutical firms. Microscale cell culture analogue-microscale gastrointestinal(${\mu}CCA-{\mu}GI$) device using Caco 2, L2 and HEp G2/C3A cells, which mimic metabolic process after absorption occurring in humans was used to investigate the toxicity of the model chemical, acetaminophen(AAP). The toxicity of acetaminophen determined after induction of CYP 1A1/2 in Caco 2 cells was not significant. In a coculture system, although no significant reduction in viability of HEp G2/C3A and L2 cells was found, approximately 5 fold increase in the CYP 1A1/2 activity was observed. These results appear to be related to organ-organ interaction. The oral administration of a drug requires addition of the absorption process through small intestine to the current ${\mu}CCA$ device. Therefore, a perfusion coculture system was employed for the evaluation of the absolution across the small intestine and resulting toxicity in the liver and lung. This system give comprehensive and physiologic information on oral uptake and resulting toxicity as in the body. The current ${\mu}CCA$ device can be used to demonstrate the toxic effect due to organ to organ interaction after oral administration,

예비유아교사의 그림책에 대한 이미지 변화

장정윤(Chang Jung Yoon),안혜정(AHN HYE JUNG) 한국육아지원학회 2016 육아지원연구 Vol.11 No.4

본 연구는 그림책 수업을 통해 예비유아교사들의 ‘그림책’에 대한 수업 전․후의 이미지 변화를 파악하 는 것이 목적이다. 연구대상은 3년제 대학 유아교육과 전공심화과정 학생 54명으로 학기 초와 학기 말에 그림책에 대한 이미지를 그림으로 표현하고, 이에 대한 설명을 작성한 자료를 수집하여 내용분석을 실시 하였다. 그 결과 예비유아교사들의 그림책에 대한 이미지 변화는 개인적인 경험과 그림책 자체의 두 가지 측면으로 나타났다. 개인적인 경험에 대한 이미지는 ‘엄마, 아빠가 읽어주던 그림책에서 내가 읽는 그림 책으로’와 ‘아이들에게 들려주기만 하는 그림책이 아닌 내가 되새기며 읽어주는 그림책으로’ 범주화되었 다. 그림책 자체에 대한 이미지는 ‘그림책 역할에 대한 고정된 관점에서 폭넓은 관점으로’와 ‘그림책 구성 에 대한 표면적인 관점에서 유기적인 관점으로’ 범주화되었다. 이와 같은 연구결과는 예비유아교사의 그 림책에 대한 태도 형성과 그에 따른 바람직한 교수학습방법을 준비하기 위한 교사교육의 방향성을 제공 할 수 있을 것이다. The purpose of this study is to investigate changes in the image of ‘picture books’ perceived by preservice early childhood teachers before and after conducting classes using picture books. The participants were 54 preservice early childhood teachers enrolled in the advance course in early childhood education in a three-year college. At the beginning and the end of the semester, the participants were asked to draw the image they had about picture books and write a description, and the data were collected and analyzed using contents analysis. In the result, the changes in the image of picture books perceived by preservice early childhood teachers were divided into two aspects: first, regarding the personal experience, the perceived image of picture books changed ‘from pictures books my parents read to me, to ones I read to children,’ and ‘from picture books I read to children, to ones I want to ruminate about picture books’ Second, regarding the images of picture books, the changes were categorized into:‘from a fixed view to a broad view of the roles of picture books’ and ‘from a superficial view to a view of organic relationship about the composition of picture books’ The findings of the study can help to improve an attitude of early childhood teachers toward picture books and provide a direction for training the teachers with an appropriate teaching and learning methods.

OSMU 방식을 적용한 무용작품 <피아노>의 창작과정 연구

장정윤 ( Chung Yoon Chang ) 한국무용기록학회 2011 무용역사기록학 Vol.23 No.-

이 연구는 실기주도연구(practice-led research)의 한 형태로 무용작품 <피아노>가 형성되기까지의 과정을 제시(writing and presenting)하며, 형성된 작품의 분석과 해석에 관해 고찰한 것이다. 문화콘텐츠를 개발하기 위한 OSMU 방식을 무용의 작품형성과정에 적용하고 안무방식을 확보하기 위해 영화(The Piano, 제인 캠프만 감독)에서 이야기 거리를 찾아 무용(피아노, 장정윤 안무, 2011)의 매체에 적합한 양식으로 작품화하였다. 오늘날 무용 창작공연을 위한 새로운 이야기 형식에 적극적으로 참여하고 관객이 작품을 일방적으로 수용하도록 하는 일에서 탈피하며, 관객과 무용의 상호작용에 의해 작품의 창조에 관객을 참여시키고자 한다는 데에 연구의 필요성을 두고 있다. 현시대적 배경과 현대사회의 대중을 겨냥하여 현대무용으로서 가능한 텍스트와 텍스트의 변형, 극적 내러티브, 그리고 이와 관련된 상호성에 관해 고찰하였다. 그렇게 해서 무용학 연구에 있어서 의도하는 실기를 통한 개념적 지식의 발견과 재해석에 관해 모색하고 실기주도연구의 방법과 가능성을 열고자 하는 것이다. 공연과 그 실천의 현상을 연구하는 데에 그치지 않고 공연 이후의 사고와 의식의 경험으로부터 한 발 더 나아가 새로운 개념과 이론을 발전시킨다는 데서 그 가치를 지니고 있다. This paper discusses on relationship of the storytelling film, <The Piano> directed by Jane Campion as One Source and producing contents of the dance, <Piano> as Multiple Use. It also discusses the dance``s structure, plot, spacial design, character, movement and choreographic ideas comparing to the picture``s, <Piano> shows the cultural interaction, characters`` interaction with audience, dancer and choreographers, and ideological interaction which derives from different historical and temporal background. <Piano>is choreographed focusing on the spacial design and expressive movements, The expression of imaginary situation, motif, character, emotion are more important than the description of fact and incidents. The script used for the picture, deals with the storytelling of the dance accompanying the interacting forces of choreographer, dancers, and audience. The experience of time, changes of situation and imagination for choreographer is not supposed to correspond to the scriptor``s as well as audience`s, intending to destroy the bored between the audience and performance. The integration of narrative elements of film, <The Piano> and interactive elements of choreographer will suggest the visual communicative form of narrative image. Three important concepts are found through choreographic procedure: 1) narrative and storytelling for growth from conventional storytelling of dance drama, 2) interactive and intertextuality for the integration of interacting forces of dance, and 3) rediscovery of body and its core as media in theatric arts intensifying experiences of informational reception, recognition and subjectivity. The choreographic ideas of recreation of Ada, recomposition of <The Piano> story and proper movement created for dancers, are found by manipulating of characters, incidents and situational motifs.

유아교육 전공 대학원생 엄마들의 자녀양육 경험에 대한 질적 탐색

장정윤(Chang, Jung Yoon),강경미(Kang, Kyeoung Mi) 학습자중심교과교육학회 2019 학습자중심교과교육연구 Vol.19 No.9

본 연구는 유아교육을 전공하는 대학원생 엄마들이 어떠한 자녀양육 경험을 하고 있는지 알아보는 것을 목적으로 한다. 본 연구의 참여자는 현재 자녀를 양육하고 있으며, 대학원에서 유아교육을 전공하는 대학원생 9명이다. 자료수집을 위해 심층면 담을 실시하였으며, 부족하거나 확인이 필요한 내용은 유․무선(전화, 이메일, 온라 인메신저 등)을 통해 내용을 추가로 수집하였다. 본 연구를 통해 유아교육을 전공하는 대학원생 엄마들이 학업과 일, 자녀양육을 병행하는 과정에서 현실에 부딪히고 극복하기를 반복하는 경험을 하고 있음을 알 수 있었다. 첫째, 연구참여자들은 유아 교육을 전공하는 동안 자연스럽게 갖게 된 자녀양육에 대한 자신의 기준이 현실의 한계에 부딪히는 것을 경험하고 있었다. 이와 같은 경험은 ‘현실에서 실현 불가능한 나의 신념’, ‘포기하기 어려운 일관된 양육방식’, ‘현실에 흔들리는 나의 교육관’의 내용으로 나타났다. 한편 그들은 현실이 주는 한계에 좌절하지 않고 극복하고자 하는 노력도 하고 있었는데, 이와 같은 연구결과는 ‘전공자가 아닌, 엄마로서의 반성과 성찰’, ‘타인이 아닌, 내 가치관에 대한 믿음과 실천’, ‘최고가 아닌, 최선을 위한 노력’으로 나타났다. This study aims to find out child-rearing experience of graduate student moms in early childhood education majors. Participants in this study are currently nurturing their children and 9 graduate students majoring early childhood education at the graduate school. In-depth interviews were conducted to hear their child rearing experience stories. Additional information was collected via wired and wireless (telephone, email, online messenger, etc.). The results of this study showed that graduate student moms majoring in early childhood education had the repetitive experience in facing the reality and overcoming it in the process of performing study, work, and childcare at the same time. In other words, they experienced that the childcare standards created by majors in early childhood education were confronted with limitations of reality. Thus, the first result of this study was The standards that I created are confronted with limitations , which was composed of ‘my belief that cannot be realized in reality , consistent childcare method hard to be given up , and my view of education shaking in reality . Meanwhile, they also tried to overcome limitations without feeling frustrated in reality. The second result of this study was The limitations are overcome with the standards that I created , which was composed of three categories such as ‘self-reflection and introspection not as a major, but as a mother , faith and practice not in others but in my values’, and ‘efforts for not the top but the best alternative .

다양한 예술 매체의 통합으로 완성한 ‘기억하기’ : 방탄소년단의 뮤직비디오 〈봄날〉의 이미지 연구

장정윤(Chang, Jung-yoon) 건국대학교 스토리앤이미지텔링연구소 2020 스토리&이미지텔링 Vol.19 No.-

이 연구는 한국의 아이돌 그룹인 방탄소년단이 뮤직비디오 〈봄날〉(2017) 속에서 ‘소수자의 희생을 당연하게 여기거나 어쩔 수 없는 것으로 여기는 사람들의 이기심’을 비판하고 그 대안으로 제시한 ‘희생자 기억하기’가 무엇을 의미하는지를 분석한다. 〈봄날〉은 소수자의 희생에 대한 윤리적 질문과 스스로에 대한 성찰을 드러내기 위해 SF 판타지 소설의 대표적인 작가인 어슐라 르 귄의 단편「오멜라스를 떠나는 사람들」, 봉준호 감독의 영화 〈설국열차〉, 펜로즈 계단, 그리고 크리스티앙 볼탕스키의 설치 작품 〈빽손〉을 사용하였다. 이들 예술매체들을 사용한 〈봄날〉은 세월호 여객선의 침몰이라는 비극적인 사건을 목격한 자들이 이 사건을 자신의 자화상으로 기억해야 한다고 강조한다. 즉, 〈봄날〉은 세월호에서 희생당한 사람들이 나와 다른 사람이 아니라 바로 내가 될 수도 있었다는 점을 기억해야 한다고 말한다. 그리고 이런 ‘기억하기’가 내가 동시대를 살아가는 사람으로서 느껴야 하는 책임감이라고 강조한다. This study explores how the music video Spring Day (2017) performed by BTS, the Korean idol group, criticizes “the selfishness of those who take the sacrifice of a minority for granted or inevitable,” and analyzes what it means to remember the victim. To help the viewers understand the story and the subject, Spring Day employs four different types of art: Ursula Le Guin’s short story “The Ones Who Walk Away from Omeals,” Bong Joon-ho’s movie Snowpiercer, the Penrose stairs and Christian Boltanski’s monument Personnes. In Spring Day, BTS urges people to realize that they could also suffer from unreasonable violence and unplanned events such as the Sewol Ferry disaster. In short, the viewer should remember the Sewol Ferry as their own self-portrait. Integrating four different types of art, Spring Day asks people to consider the responsibility they have to take action and warmly soothes the pain and sorrow caused by events such as the Sewol Ferry disaster.

Dewey의 흥미와 노력을 통한 영유아기 자녀 교육에 대한 소고: 고(苦)가 아닌 고(考)하는 교육을 바라며

장정윤(jungyoon, Chang) 학습자중심교과교육학회 2021 학습자중심교과교육연구 Vol.21 No.10

목적 본 연구에서 연구자는 John Dewey가 말한 흥미와 노력의 의미에 입각하여 영유아기 자녀교육에 대해 스스로 소고(小考)하고자 하였다.방법 본 연구는 소고(小考)의 어원 그대로 단편적인 고찰, 연구자의 생각을 낮춰서 쓴 글의 형식을 취하고 있다.결과 본 고의 첫 번째 장에서 연구자는 Dewey를 통한 소고(小考)와 이를 통한 자기 성찰적 글쓰기가 필요했던 이유를 서술하였다. 두 번째 장에서는 우리나라의 교육 현실에 비추어 ‘흥미’에 대한 오해와 ‘노력’에 대한 맹목적인 믿음을 고찰하고자 하였다. 그리고 세 번째 장에서는 앞서 흥미에 대한 오해, 노력에 대한 맹신을 직시하기 위해 흥미와 노력이 갖는 세 가지 쟁점(자아의 분열, 수동적 쾌락, 맹목적 끈기)에 대해 살펴보았다. 마지막으로 연구자는 Dewey의 이론을 토대로 소고(小考)한 시간이 스스로에게 어떤 의미였는지 기술하고, 삶 자체로서의 교육 안에서 우리 교육이 지향해야 하는 바를 말하였다.결론 본 연구는 Dewey의 이론을 토대로 연구자 스스로 지성적 사고를 해보고자 한 데에 의의가 있다. Objectives In this study, the researcher tried to make a self-examination about children’s education based on the meaning of interest and effort by John Dewey. Methods This study takes the form of a fragmentary study and writing with lower thoughts of the researcher as the etymology of self-examination. Results In the first chapter of this paper, the researcher described the reason for the necessity of writing through Dewey and self-reflective writing. In the second chapter, The researcher tried to examine the misunderstanding of “interest” and having blind faith in “effort” in light of Korea s educational reality. And in the third chapter, in order to face misunderstanding of interest and blind faith in effort, the three issues of interest and effort(disruption of ego, passive pleasure, blind persistence) were examined. Conclusions Finally, based on Dewey s theory, the researcher described what the contemplated time meant to himself, and emphasized what our education should aim for in education as life itself. Above all, this study is meaningful in that the researcher himself tried to think intelligently based on Dewey s theory.

괴물

장정윤(Jung yoon Chang) 19세기영어권문학회 2012 19세기 영어권 문학 Vol.16 No.1

This paper focuses on the existential mode of law in Frankenstein, as reflected in the monster"s observation of the unjust treatment meted out to the foreign individual in the Western culture, and his own claim that he has the right to be happy in this society. The legal system in patriarchal Western culture is relevant to the performance of the legal regulations that exist as an arbitrary law and as the violent law. Through the monster"s witnessing of the case of Safie and her father, who is Turkish and Islamic, it is possible to delineate the characteristics of the arbitrary law connected with Imperialism and civilization. The violent law is obviously revealed by two different judgments: Justine"s verdict of guilty and the monster"s advocacy of the right to get a female monster. Both the unjust judgment that Justine receives and the rights that the monster advocates indicate that the application of the law will be varied according to the gender of the persons involved. A woman, who becomes the victim according to the standards of law, religion, and politics, makes an effort to search for the reason behind the case and to understand the situation, so that she can satisfy herself that the final explanation is acceptable. On the other hand, as a legislator, a man acquires the legal justification and the social acknowledgment for his thoughts and logic. Even if he recognizes the inconsistency in what he thinks and says, he does not admit his mistake; rather, he asserts his authority or the physical violence to have the legal justification. Consequently, the monster reveals the violence of the arbitrary law and threatens the woman"s right to be independent in society.

‘연민’의 감정 가르치기: 「제비뽑기 」 와 「오멜라스를 떠나는 사람들 」

장정윤(Jungyoon Chang) 한국영미문학교육학회 2019 영미문학교육 Vol.23 No.3

This study explores how to teach the relationship between compassion and violence, studying Shirley Jackson’s “The Lottery” and Urusula Le Guin’s “The Ones Who Walk Away from Omelas.” These two short stories reveal the selfish nature of humans to keep their own safety and well-being and to ignore the injustice of violence that kills the person with the stone in “The Lottery” and confines the child in the basement in “The Ones Who Walk Away from Omelas.” First, while reading these stories, students should understand the characteristics of the subjective and objective violence that Slavoj Žižek refers to: to study how people perpetrate subjective violence according to their desire to be safe in society and to figure out how objective violence manipulates people to inflict subjective violence on the weak. Second, students will recognize that these two stories lack a feeling of compassion and a feeling of suffering that arises from human being’s vulnerability, the perception that we are not free from violence, and that we can always be in a position of weakness like Tessie Hutchinson in “The Lottery” and the child in “The Ones Who Walk Away from Omelas.” In other words, students have to understand we cannot separate ourselves from the weak who suffer from violence caused by human selfishness and should think about safe spaces for the weak because the place that these members of society feel comfortable is truly good for our place. Therefore, this study emphasizes how to develop compassion through reading iterature.

현대무용의 발전에 나타난 철학사상(2) -현상학을 중심으로

장정윤 ( Chung Yoon Chang ) 한국무용교육학회 2003 韓國舞踊敎育學會誌 Vol.14 No.1

수동적 감정의 가능성: 필립 K. 딕의 『안드로이드는 전기 양을 꿈꾸는가?』

장정윤 ( Jung Yoon Chang ) 한국현대영미소설학회 2011 현대영미소설 Vol.18 No.1

This paper explores the significant characteristics of paranoid emotion in Philip K. Dick`s Do Androids Dream of Electric Sheep? The paranoid emotion is the rational and composed mood when the subject forces himself or herself to explain something ambiguous and inexpressive according to his or her own system of interpretation. In addition, it plays a role in covering anxiety that comes from the gap between void reality and the perfect system that he or she constructs. Therefore, the subject has acquired such qualities as rationality, tenacity, self-satisfaction, and self-protection. In the end, it reveals a powerless state of itself. I analyze the experiences of the main character, Rick Deckard, the bounty hunter who kills androids that escape from Mars. He is obsessive about the concrete boundary that indicates the differences between a human being and an android, a living entity and a dead thing, and sensibility and insensibility. In the end, he feels hopelessness and gives up disguising his feelings. The feeling of helplessness is the physical and mental response not to do anything else whether someone makes him do it or he does it on his own in the void reality. Maintaining the feeling of helplessness, he is still in the paranoid state and realizes that he is not different from an android that definitely replaces another one without any hesitation. Thus, he stops doing anything for society and fries to stay in hopelessness: he remains steadfast in the paranoid emotion.