CD38 Inhibition Protects Fructose-Induced Toxicity in Primary Hepatocytes

강엽,Soo-Jin Lee,Sung-E Choi,Seokho Park,Yoonjung Hwang,Youngho Son 한국분자세포생물학회 2023 Molecules and cells Vol.46 No.8

A fructose-enriched diet is thought to contribute to hepatic injury in developing non-alcoholic steatohepatitis (NASH). However, the cellular mechanism of fructose-induced hepatic damage remains poorly understood. This study aimed to determine whether fructose induces cell death in primary hepatocytes, and if so, to establish the underlying cellular mechanisms. Our results revealed that treatment with high fructose concentrations for 48 h induced mitochondria-mediated apoptotic death in mouse primary hepatocytes (MPHs). Endoplasmic reticulum stress responses were involved in fructose-induced death as the levels of phosho-eIF2α, phospho-C-Jun-N-terminal kinase (JNK), andC/EBP homologous protein (CHOP) increased, and a chemical chaperone tauroursodeoxycholic acid (TUDCA) prevented cell death. The impaired oxidation metabolism of fatty acids was also possibly involved in the fructose-induced toxicity as treatment with an AMP-activated kinase (AMPK) activator and a PPAR-α agonist significantly protected against fructose-induced death, while carnitine palmitoyl transferase I inhibitor exacerbated the toxicity. However, uric acid-mediated toxicity was not involved in fructose-induced death as uric acid was not toxic to MPHs, and the inhibition of xanthine oxidase (a key enzyme in uric acid synthesis) did not affect cell death. On the other hand, treatment with inhibitors of the nicotinamide adenine dinucleotide (NAD)+-consuming enzyme CD38 or CD38 gene knockdown significantly protected against fructose-induced toxicity in MPHs, and fructose treatment increased CD38 levels. These data suggest that CD38 upregulation plays a role in hepatic injury in the fructose-enriched diet-mediated NASH. Thus, CD38 inhibition may be a promising therapeutic strategy to prevent fructose-enriched diet-mediated NASH.

조지 허버트의 신앙과 모형시

강엽 한국고전중세르네상스영문학회 2002 중세근세영문학 Vol.12 No.2

George Herbert described his poetry as "a picture of the many spiritual Conflicts that have past betwixt God and my Soul, before I could subject mine to the will of Jesus My Master." He profited from every aspect of John Donne's style, but he always adapted it to his own temperament, and employed more than one hundred stanza forms, many of them extremely complicated. In "Easter Wings" and "The Altar" Herbert made the poems visual hieroglyphs to create them in a shape which formed an immediately apparent image relevant both to content and structure, whereas in "Aaron," "The Church-floore," and "Paradise" the patterns are valuable as contents, that is, they are used as the objects which crystallize the meanings of the poems, and the poems could be constructed as formal hieroglyphs which mirrored the structural relationships between the natural hieroglyphs, the poems, and the individual's life. Finally in "The Collar" Herbert ventured in hieroglyphic form. The object of imitation is the disordered life of self-will. He has given a formalized picture of chaos in the elaborate anarchy of the patterns of measure and rhyme. But the poetry of Herbert is so intimately bound up with his faith as a Christian and his practice as a priest that those who want to enjoy the poetry without sharing his faith may well feel some presumption in attempting to define the human, as distinguished from the specifically Christian, value of his work.

T.S. Eliot : Word Repetition in His Early Poems

姜曄 새한영어영문학회 1981 새한영어영문학 Vol.12 No.-

William Blake의 Symbolism

姜曄 釜山大學校 1984 人文論叢 Vol.26 No.1

William Blake, though he was influenced by mystics in faith and by Milton in literature, had to invent his own symbolism in order not to follow if his predcessors' footsteps. Blake, no doubt, took many of his symbols from the Bible, or rather he borrowed names and images from the Bible contexts to serve him as symbols. In this way the wider terms of reference of the Bible text would help to elucidate and colour his own particular record of experience. On the other hand Blake has special symbols for many mysterious power which he saw at work in the universe. Blake's theme was the eternal struggle between good and evil, reason and imagination, spiritual freedom and material bondage, light and darkness. This theme was well expressed by his intuitive imagination, which works through symbols in Songs of Innocence and Songs of Experience. In Song of Innocence Blake expressed his imaginative vision about the world of "Innocence", which is called the state of the Paradise before the fall of Man, while in Songs of Experience he described Man's corruption in the world of "Experience" after the fall. The major symbol of Innocence is tile chlild. The chid stands in Songs of Innocence for, Mercy, Pity, Peace, Love, Freedom, Joy, and so on. Adults, especially the mother and the shepherd, represent the protectors or guardians in the world of Innocence. In addition, birds, flowers, the lamb, green fields, dawn, spring, etc., are associated with the image of Innocence. In Songs of Experience the father or adult is the principal symbol. The father stands for the symbol of oppression personally, religiously, and politically. The related images are as follows: priests, kings, night, winter, forests, etc. Besides, the Tyger, including the lion and the wolf, is especially the symbol of destructive evil. In Songs of Experience branches of trees, roses, gold, silver, and moonlight are sexual symbols; cities, houses, snakes, evening, disease, etc., are corruption symbols. Blake used his symbols to express increasingly subtle and complex intellectual distinctions. As the system developed, however, he found it necessary or convenient to reinforce the symbolism with an elaborate and cacophonous mythololgy that does not explain itself as the symbols usually do. The total effect of these idiosyncrasies is to make Blake's English so personal that at times it almost becomes a private language. No doubt there is always a certain tension between what a new poet wants to say and what the English language and literary tradition perm it him to say, but the tension is more acute in Blake's case than in any other because of the extremity of his individualism.

William Blake의 시 : 경험 세계의 실상 The Reality of Experience

강엽 釜山大學校 1989 人文論叢 Vol.35 No.1

Blake, though disposed to love his fellowmen and to believe in their inherent goodness, did not fail to see that in many of them the divine image- "Mercy, pity, peace, and love"- is so distorted as to be scarcely discernable, Blake did not dream that man could redeem himself or society by relying on the natural virtues of the human heart ; but he did passionately believe that humanity is destined to enjoy the glorious liberty of the sons of God. Therefore he tended to throw the blame for man's frustration upon tyranny : that is, the social tyranny of kings, the moral tyranny of priests, the oppression of the young by the old, and the oppression of the child by its father, Blake could see few signs in human society of the reign of liberty and love. Whenever he looked, he saw the divine image in his fellowmen deformed and distorted. "Mercy, pity, peace, and love" no longer sway and adorn the actions of humanity. The Satanic being, Urizen, planted the tares such as rationalism and materialism in the field of human mind. Rationalism and materialism produced the evil fruits : cruelty, jealousy, terror, secrecy, deceit, hypocrisy, and so on. Every human being is bound by the "mind-forged manacles" This is the reality of the World of Experience. But Blake as "Batd" calls upon the people in the forests of the night just like one of the Hebrew prophets in the Bible "O Earth, turn away no more." Blake is determined not to cease from his mental fight until human beings have built Jerusalem, that is, until they have restored the lost Golden Age here and now.

Songs of Innocence and of Experience의 序詩 : 그 豫言者的 性格

姜曄 釜山大學校 1985 人文論叢 Vol.28 No.1

In the Songs Blake pursued a more traditional and more lyrical art, because some deep need in him called for this kind of expression. In the prophecies he had a great message for his generation, an urgent call to awake from its slothful sleep. This is not the spirit, some critics say, in the Songs. 'Introductions' to the Songs, however, have some prophetic character in them. In the 'Introduction' to Songs of Innocence the Piper did not merely sing the rural landscape, dut only did what the Child on a cloud wanted him to do. In the Bible the prophetb is called a nabi, that is, a spokesman. The Piper piped a song about a Lamb as a spokesman, and foresaw mankind enter the state of Higher Innocence through the portal of Experience. In the 'Introduction' to Songs of Experience the Bard sees Preseet, fast & Future, and takes on the whole the redemptive and providential view. So the Bard also foresees that man will, at the moment of his spiritual rejuvenation, repudiate, and be withdrawn from, the world of the senses and move into the intelligible world. Despite the difference in direction of their vision, the Piper and the Bard are imaginative, are what Blake called the poetic or prophetic character. And though one singer uses mild and gentle numbers and the other more terrific tones, both see the imaginative significance of all the activity in the Songs. The 'Introauction' to Songs of Innocence in a sense reminds us of Isaiah the prophet in the Old Testament, while the 'Introduction' to Songs of Experience calls John the Baptist in the New Testament to our minds.

윌리엄 블레이크의 시에 나타난 사해동포주의

강엽 새한영어영문학회 1999 새한영어영문학 Vol.41 No.2

William Blake has been called a mystic; a word which suggests an other-worldly contemplative. But his genius was not of that kind. He called himself a prophet, and he was indeed the first poet to speak of a new age. He clarified the nature of his work to be the visionary or imaginative and it was an endeavour to restore what the ancients called the Golden Age. So the aim of this thesis is to examine and find out the real meaning of the Universal Brotherhood in his poetry. Blake was fully aware of the iniquity of the social structure of his day, and perceived the trials tribulations of his fellowmen. For his part, Blake was deeply interested in Universal Brotherhood, but liberty of course was his great theme. Therefore he uses his poetry as a means to bring about in the souls of his fellow men a living and imaginative response to the evil social conditions and spiritless human relationships. The prime source of Blake's ideas about Universal Brotherhood is the Bible. He explicitly connects the idea of brotherhood with the immanence of God, and developes the idea that we are "brethren in Christ"(Colossians 1:2). So his conclusion of The Four Zoas is that "Man subsists by Brotherhood & Universal Love"(Four Zoas IX: 638). In a comparable speech to the reviving Albion at the end of Jerusalem, Jesus says, "This is Friendship & Brotherhood without it Man Is Not"(Jerusalem 96:16). The poet resolves not to cease his mental fight until Jerusalem has been built on the earth, that is to say, until the Golden Age has been restored in the world.

William Blake의 'The Tyger'

姜曄 釜山大學校 1982 人文論叢 Vol.22 No.1

‘The Tyger’ of William Blake has been traditionally interpreted as the wrath of God or God's nature. But the nature of Blake's work is visionary or imaginative. By vision Blake meant the view of the world, not as it might be, still less as it ordinarily appears, but as it really is when it is seen by human consciousness at its greatest height and intensity. It is the artist's business to attain this heightened or transfigured view of things, and show us what kind of world is actually in front of us, with all its glowing splendour aha horrifying evils. There are two main elements of complication in Blake's poems. One is context. Most of Blake's well-known lyric poems are the expressions of Innocence and Experience. These are the two contrary soul of the soul. So the reader should know which of the two stales the given poem expresses. The other is point of view, that is, who is speaking in the poem? If we take these elements into consideration, we come to recognize with ease that the traditional interpretation of ‘The Tyger’ is wrong, ‘The Lamb’ represents Songs of Innocence, and 'The Tyger' Songs of Ecperience. The lamb symbolizes harmlessness, gentleness, peace, love, etc. But the tyger is Blake's symbol for the fierce, terrifying forces in the human soul. The “forests of the night” in which the tyger lurks are the images of evil, death, the unconscious chaos, etc.

셰이머스 히니의 시에 대한 문학생태학적 접근

강엽,정현욱 부산대학교 2000 효원 영어영문학 Vol.18 No.1

Human beings have destroyed the ecological order in the name of development and civilization. It is high time that we should change our mind. As we think about the present situation profoundly, we can understand that there is a serious ideology in it. That is the concept of binary oppositions, such as human/nature, man/woman, light/dark, and so on. This is the Euro-central thought that justifies the destruction of nature by human beings. In this situation, the ecological literary criticism, new paradigm, has turned up. And this criticism has been united with the feminist criticism. This paper seeks to analyze Seamus Heaney's poetry as an ecological literary text. Heaney is an Ireland poet. Since he grew up, he has experienced the history of colonization. When we analyze his poetry as an ecological literary text, we can easily understand that Heaney warns the destruction of the ecological order, and shows the positive solution. In his poetry, he deconstructs the binary oppositions, and seeks for the harmonious relationship between them. Besides, he strives to restore the circulating idea of time, the important ecological literary concept. The ecological literary critics consider this idea of time as the solution with regard to the dangerous situation of the present. Therefore, we can comprehend that the world Heaney seeks for is the harmonious one in which human and nature can live together. Heaney practices the ecological literary concept in his poetry, and shows the vision we should keep abreast with.

제1형 당뇨병(인슐린 의존성 당뇨병)의 발병원인과 치료전망

강엽,고인영 한국생화학분자생물학회 1995 생화학분자생물학회 소식 Vol.15 No.6