朝鮮後期 男子 裝身具에 關한 硏究

허정아 又石大學校 1996 論文集 Vol.18 No.-

This study is deep sematical investigation about tie kinds & the shapes of the ornaments for men used in the end of Chosun (about from 1700 to 1850) through the genre pictures and the other pictures kept in national museum From this study. we can get the esthetic sense and esthetic symbol of the people those who lived in that time. Wearing ornaments for everyday life was not governed by nation power but by social customs. And these can be divided by these kinds of series, i. e., Libja, Keon, Sushik, Libshik, Dae and Hae, etc. Ⅰ am dealing its shapes, materials, way of use in Section Ⅲ. Section Ⅳ is a symbolic investigation for those ornaments in which we can see the times, the culture, the customs and the way of thinking. Most of ornaments used in the end of Chosun didn't aim purely to decorate, instead, the people of that times added some kinds of decoration sense to the object having practical and functional propensity and through this procedure, they got the esthetical satisfaction. As its example, there is Libja, Keon and Dushik..Libshik (Mangkeon, Tangkeon, Donggot, Pungiam, Kwanja, etc). In these kinds of decoration for head. its shapes and wearing figures formed everyday life style of those days and showed us their Confucian totalitarian mind. As the Confucian ideas came to be whole social basic thinking, the shapes, the kinds, and the print of ornaments discriminated between upper and lower class. In addition to that, because that period was consisted of each social class, it occurred variously that a phenomenon of using high-quality and expensive raw materials for higher class. There were Hoeja and Kwanja which divided the materials up to 'Pum' class, and also were Pungjam and Ibyoung which indicated the level of class with the way of use in raw materials. Therefore, through these ornaments, we can see the fact that these kinds of ornaments played the symbolic role that showed and indicated the promotion in class 'Sunbi, scholar', In the end of Chosun, lower class who made big fortune by doing practical science, started to mimick the upper class ornaments. So, upper class, in order to defend this kind of propensity and to differenciate from lower class, started to effort to have and keep their own ornaments. Those efforts were resulted in the various kinds of shapes of ornaments. Its representative example is the change of the shapes in 'Kat'. Through the shapes and the print of the ornaments which had symbolic meaning, i.e. 'Ui, a symbolic thing or meaning earned by experience', 'Sadaebu, the man of noble birth' wanted to show symbolically their mental desire of hope. In the shape of Kwanja or at the edge of Heuklib and in the print of some part of Yangtae, etc. we can see these ornaments having 'Ui'.

성대 기능 이상 1례

허정아,최희경,손창희,안영민 대한소아청소년과학회 2004 Clinical and Experimental Pediatrics (CEP) Vol.47 No.5

Vocal cord dysfunction is a recently described entity in which paradoxical adduction of the vocal cords produces airflow obstruction at the level of the larynx. Recurrent wheezing results, which may imitate asthma. Inspiratory closure of the cords can also cause stridor, commonly misdiagnosed as an upper airway obstruction of undefined cause. The acute presentation is often dramatic and has led to inappropriate treatment, including intubation, tracheotomy, or high doses of steroids. We present the case of a 9 yr old boy with allergic rhinitis who was referred to us for the evaluation of wheezing and dyspnea which did not respond to asthma management. Pulmonary function tests had abnormal inspiratory phases and laryngoscopy revealed typical adduction of the vocal cord during inspiration. Psychological tests suggested anxiety and tension with repressed aggression. There have been no further episodes, possibly due to counseling and education of relaxed throat breathing as well as avoidance of inhaled medication 저자들은 천식으로 오인하여 천식 치료를 하였으나 잘 반응하지 않았던 9세 남아에서 특징적인 유량곡선을 보이고 후두 내시경으로 확진된 1례를 경험하여 우리나라 소아 첫 증례로 보고하는 바이다.

Highly Crystalline 2,6,9,10-Tetrakis((4-hexylphenyl)ethynyl)anthracene for Efficient Solution-Processed Field-effect Transistors

허정아,신지철,이태완,김경환,조민주,최동훈 대한화학회 2012 Bulletin of the Korean Chemical Society Vol.33 No.5

A new anthracene-containing conjugated molecule was synthesized through the Sonogashira coupling and reduction reactions. 1-Ethynyl-4-hexylbenzene was coupled to 2,6-bis((4-hexylphenyl) ethynyl)anthracene- 9,10-dione through a reduction reaction to generate 2,6,9,10-tetrakis((4-hexylphenyl)ethynyl) anthracene. The semiconducting properties were evaluated in an organic thin film transistor (OTFT) and a single-crystal fieldeffect transistor (SC-FET). The OTFT showed a mobility of around 0.13 cm2 V−1 s−1 (ION/IOFF > 106), whereas the SC-FET showed a mobility of 1.00-1.35 cm2 V−1 s−1, which is much higher than that of the OTFT. Owing to the high photoluminescence quantum yield of 2,6,9,10-tetrakis((4-hexylphenyl)ethynyl) anthracene, we could observe a significant increase in drain current under irradiation with visible light (λ = 538 nm, 12.5 μW/ cm2).

영화 이미지의 두 가지 유형 분석 : 들뢰즈의 < 운동 - 이미지 > 와 < 시간 - 이미지 > 를 중심으로

허정아 한국불어불문학회 2000 불어불문학연구 Vol.44 No.2

Les ouvrages de Deleuze sur le cine´ma sont consacre´s a` la classification des images et signes. Il nous propose deux re´gimes de l'image ; un re´gime qu'on pourrait appeler l'image-mouvement et un autre qui est l'image-temps. Ces deux images repre´sentent en effet les caracte´ristiques dominantes du cine´ma classique et du cine´ma moderne. L'image-mouvement, qu'on peut observer la plupart des cas dans le cine´ma classique, proce`de par coupures rationnelles et s'enchai^ne par 'les liens sensori-moteurs', ce qui repre´sente le temps indirectement. Par contre. l'image-temps qui caracte´rise le cine´ma moderne ne s'enchai^ne plus par des coupures rationnelles mais par des coupures irrationnelles et des re´-enchai^nements. Dans ce mode d'image, le temps n'est plus subordonne´ au mouvement, mais c'est le mouvement qui se subordonne au temps. Et la situation optique et sonore pure se substitue a` la situation sensori-motrice. Au demeurant l'image-temps pre´sente directement le temps, et cette pre´sentatian directe permet au cine´ma de mettre en rapport avec le mental et l'imagination. Ainsi l'image-temps re´alise la possibilite´ cre´ative du cine´ma au dela` des limites de l'image cine´matographique qui est base´e sur des images de la re´alite´.

『Signe´ponge』 : Derrida와 Ponge 텍스트 이해와 번역

허정아 연세대학교 출판부 2004 번역문학 Vol.5 No.-

대통령직무대행 , 교통부 장관 , 제헌의원 허정 회고록

허정 한국해사문제연구소 2002 (月刊)海洋韓國 Vol.340 No.-

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

후기 구조주의적 관점에서 본 영화 이미지의 자기 반조성

허정아 서울대학교 예술문화연구소 1998 예술문화연구 Vol.8 No.-

L'une des tendances les plus marque´es de l'art moderne est l'auto-re´flexivite´. C'est la tendance selon laquelle faisant des re´flexions sur ses propres moyens de cre´ation et ses conditions de production, l'art se refle`te. Cette tendance trouve, en fait, sa racine dans la crise de la re´pre´sentation. L'acte de l'art ne consiste pas a` repre´senter le monde exte´rieur. Une fois produit par des moyens artistiques, ce n'est plus la copie du mode`le re´el, mais bien un monde d'art tout autonome. Pousse´e par cette tendance, se manifeste aujourd'hui un mode de production qui n'a rien a` voir aver le mode`le re´el. C'est un mode dont la base est tout a` fait fictive et artificielle. C'est ce qu'on appelle $lt;simulacre$gt;. Le cine´ma n'est pas exclu de cette tendance d'auto-re´flexivite´. Etant lie´ directement a` des images visuelles, le cine´ma cherche la nouvelle expressivite´ dans l'image me^me. Prenant en conside´ration cette tendance, notre e´tude proce´de a` voir des effets du me´canisme auto-re´flexif qui s'appelle $lt;la raise en abyme$gt; et a` cerner les traits esthetiques de l'image auto-re´flexive: discontinuite´ et rupture, de´territorialisation, fiction, surimpression.

문학과 매체

허정아 연세대학교 인문과학연구소 2002 人文科學 Vol.84 No.-

초음파 급여시행에 따른 급여화의 이해 및 심초음파 lab.의 변화

허정아 대한임상병리사협회 2013 임상생리검사학회 발표자료집 Vol.2013 No.-