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홍유미(Hong Yu-Mi),김광현(Kim Kwang-Hyun) 대한건축학회 2011 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.31 No.2(계획계)
The flow made by transportation and information is getting important and the transportation facilities that gathers the flow tends to increase its size. This phenomenon explains the result of functionalist approach towards the transportation facilities. However, the grounding nature of architectural materiality suggests a possible solution to the phenomenon; containment of human activity. So it is suggested that the transportation facilities should intervene the flow to create activities to obtain the urbanism. Therefore, this study will analyze the characteristics of the transportation facilities through Rem Koolhaas works to accommodate congested situations along with finding specific architectural methods of spatializing congested situations.
고아저작물 이용 활성화를 위한 확대된 집중관리제도 도입에 관한 연구
홍유미(Hong, Yu-Mi),윤종민(Yoon, Chong-Min) 충북대학교 법학연구소 2012 과학기술과 법 Vol.3 No.2
An orphan work is defined as a situation where the owner of copyrighted work cannot be identified and located by someone who wishes to make use of the work in a manner that requires the permission of the copyright owner. It is required that to use any work the user should be given consent to use it from its copyright holder. However when the identity or whereabouts of copyright holders of any orphan work is not clarified, it is difficult to be allowed to voluntarily use it. In the past the importance of orphan works was not understood properly. However with the advancement in informational technology and media, multiple numbers of works are being uploaded online and its uses are being made online too. With this shift in copyright paradigm the works fixed in the existing off line media needs to be digitalized. Because this digitalization requires copyright holders’ consent of its use, the orphan works whose copyright holder cannot be identified are emerging as a major obstacle. In addition not only the necessity of its increased utilization but also the dramatically increased demand for the derivative use of it also increases the necessity to have proper system for it. In the country, compulsory license system are already in place that allow for government authority to license works that it is satisfied are adequately identified as orphans. While useful on a small scale, as part of a broader solution for users that wish to enable mass uses, It is noticeable that the structure of the system may be too administratively burdensome on a larger. Therefore, given the characteristics of compulsory license system which requires the individual approval procedures in the usage of orphan works, Extended Collective Licensing System was examined to overcome the limitation which is not appropriate for its mass utilization. Extended Collective management means that a collecting society is given a mandate to represent the interests of all right holders even if they are not formally registered with that society. Therefor, once a contract allowing a user to use certain works is negotiated with a collecting society, the applicable national law would extend its coverage to all copyright owners beyond the known and registered members of the collective society. This way, orphan works are also included in the licence. The system also provides assurance to the users against liability for infringement.
세포주를 이용한 군소 다당류와 Glycosaminoglycan의 기능성 검색
홍유미(Yumi Hong),박시향(Sihyang Park),윤보영(Bo-Yeong Yoon),최병대(Byeong Dai Choi),최영준(Yeung Joon Choi) 한국식품영양과학회 2011 한국식품영양과학회지 Vol.40 No.1
군소에서 정제한 GAG는 대식세포주인 RAW 264.7에서 세포독성은 보이지 않았으며 NO 생성량, TNF-α, IL-6 생성량을 증가시켜 면역조절 효과가 있음을 확인하였다. 그리고 100 ㎍/mL 농도에서 배양 72시간 후 약 40%에 가까운 위암세포(AGS) 성장 억제 효과가 나타났고, 정상세포 IEC-6에는 독성을 보이지 않았다. 이 같은 결과는 면역조절을 위한 기능성식품 혹은 위암 치료제로서 군소의 당 추출물과 GAG의 활용 가능성을 제시한다. In this study, we extracted a whole polysaccharide fraction from the sea hare, Aplysia kurodai, and screened its functional properties using cell lines. The functionalities of polysaccharide and glycosaminoglycan (GAG) were investigated with RAW 264.7 cell lines. The crude polysaccharides and GAG purified DEAE-Sepharose chromatography did not show the toxicity on RAW 264.7 cell line in the range of 10~200 ㎍/mL, whereas they increased the cell growth rate. The crude polysaccharides and purified GAG also increased the production of NO, interleukin-6 and tumor necrosis factor-α on RAW 264.7 cell. Particularly, the purified GAG inhibited the proliferation of stomach cancer cell line, AGS, up to 40% for 72 hr incubation, but not the intestinal epithelial IEC-6 cell lines.
홍유미(Hong Yumi) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.2
Susan Glaspell(1876-1948), the representative female playwright in the history of the American theatre, has generated critical debates and drawn critical attention not only as the contemporary writer and colleague of Eugene O’Neill but also as a great female writer. Although she has been drawing feminists’ attention since her first inclusion in literary cannon in the 1980s, Glaspell still remains relatively on the margin of the critical studies and debates. This paper, focusing on Glaspell’s Bernice and Alison’s House, aims to restore the interests in her works and provoke more studies about her and her works by discussing Glaspell’s ‘aesthetics of absence’ and her absent heroines who are already dead. Bernice and Alison’s House both show the whole process of exploring and constructing the identity of each absent heroine, whose ‘absent presence’ overwhelms the other living characters as the center of the stage. Giving more power to absence and silence than to presence and speech, both plays contain Glaspell’s strategy of paradox as her attempt to demolish the established gender-based system and to ‘make’ new orders and new values. Part Ⅰ explores general characteristics of Glaspell’s ‘aesthetics of absence’ and her device of the absent heroine. Part Ⅱ discusses the constructing process of Bernice’s identity and the significance of Bernice’s lie in terms of power, and examines how Bernice disrupts the myth of ‘the angel of the house’ by exercising power over her husband with her lie rather than the truth. Part Ⅲ examines Alison’s problematic unpublished love poems about her forbidden love and how her works provoke debates about the ownership of artistic work. The involvement of male power in editing, publishing, and evaluating female writer’s works is also discussed. With Alison serving as the representative of female writers, and her house and her room serving as “a room of one’s own” for female writers, Glaspell raises questions about the absent female writers and their authorship. Finally, Glaspell achieves the paradox beyond the grave by highlighting how Bernice through her lie and Alison through her unpublished love poetry take presence to the people living, exercising their power beyond their death. Like her absent heroines, Glaspell herself, being absent for a while in the history of the theatre, goes beyond her absence and death, requesting her place in the literary history as a writer who deserves ‘constant and persistent’ critical studies.