Suncus Murinus 간장의 미세구조적 관찰

김경욱,신영철,Kim, Kyoung-Wook,Shin, Young-Chul 한국현미경학회 1993 Applied microscopy Vol.23 No.2

본 연구에서는 반수서동물인 Suncus Murinus간실질의 구조와 간소엽에 존재하는 간실질세포, 동모양내피 세포, Kupffer세포 및 Ito세포의 미세구조를 관찰하고 이들의 특징을 포유동물 및 비포유동물의 것들과 비교 고찰하였다. 간실질세포는 지방소적과 비교적 큰 사립체를 많이 함유하고 있었으며 세포간격은 좁았으나 세포 표면은 가늘고 긴 돌기를 많이 갖고 있어 그 미세구조가 비포유동물의 일부 동물종에 유사한 소견을 나타냈다. 내피세포 또한 일부 비포유동물에 있어서와 같이 용해소체를 많이 함유하고 있어 Kupffer세포와의 식별이 어려웠다. 간소엽에는 담세관이 많았으며 일부 담세관과 담관은 Disse강에서 관찰되었는데 이러한 담관계는 Disse강에 있는 소세포와 간실질세포에 의해서 형성되어있거나 소세포들이 내강을 둘러 싸면서 형성하고 있었다. 담관계형성에 관여하는 소세포들은 지방소적을 함유하거나 함유하지 않은 Ito세포일 것으로 추정되었다. 이상의 소견으로 미루어 Suncus Murinus간장은 포유동물과 비포유동물의 구조와 미세구조를 동시에 갖추고 있는 것같이 보인다. This study was designed to observe the ultrastructural characteristics of hepatocytes, endothelial cells, Kupffer cells and Ito cells in the liver of Suncus Murinus. The specimens were processed for electron microscopy, following the immersing in the Karnovsky fixative for 8 hrs and 1% osmium tetroxide for 2 hrs. Hepatocytes contained large number of lipid droplets and large mitochondria. Spaces between the hepatocytes were narrow and in some area were irregular in contours with long and slender microvilli of the hepatocytes. Endothelial cells may contain lysosomes as Kupffer cells do. Bile canaliculi were relatively wide and easily seen in the lobule. Bile ductules located in the space of Disse were formed by the hepatocytes and small cells with or without lipid droplets. The results suggest that the Suncus Murinus liver shows some ultrastructural characteristics of aquatic animal livers, endothelial and Kupffer cells may be the same one only in the different functional states, and the bile ductule may be partly formed by the Ito cell.

Laser Cladding 공정으로 제조된 Tribaloy T-800 코팅 소재의 미세조직 및 용융 Al 침식 특성

김경욱,함기수,박순홍,이기안,Kim, Kyoung-Wook,Ham, Gi-Su,Park, Sun-Hong,Lee, Kee-Ahn 한국분말야금학회 2020 한국분말재료학회지 (KPMI) Vol.27 No.3

A T-800 (Co-Mo-Cr) coating material is fabricated using Co-Mo-Cr powder feedstock and laser cladding. The microstructure and melted Al erosion properties of the laser-cladded T-800 coating material are investigated. The Al erosion properties of the HVOF-sprayed MoB-CoCr and bulk T-800 material are also examined and compared with the laser-cladded T-800 coating material. Co and lave phases (Co₂MoCr and Co₃Mo₂Si) are detected in both the laser-cladded T-800 coating and the bulk T-800 materials. However, the sizes of the lave phases are measured as 7.9 ㎛ and 60.6 ㎛ for the laser-cladded and bulk T-800 materials, respectively. After the Al erosion tests, the erosion layer thicknesses of the three materials are measured as 91.50 ㎛ (HVOF MoB-CoCr coating), 204.83 ㎛ (laser cladded T-800), and 226.33 ㎛ (bulk T-800). In the HVOF MoB-CoCr coating material, coarse cracks and delamination of the coating layer are observed. On the other hand, no cracks or local delamination of the coating layer are detected in the laser T-800 material even after the Al erosion test. Based on the above results, the authors discuss the appropriate material and process that could replace conventional bulk T-800 materials used as molten Al pots.

역사에 대한 '문학적 상상력'으로서의 기억

김경욱(Kim Kyoung Wook) 한국영화학회 2005 영화연구 Vol.0 No.26

Recent Korean cinema have dealt with historical events. Among them, 〈Silmido〉(Kang, Woosuk, 2004) became super blockbuster. 〈Silmido〉 manifests ambivalent attitudes about the meaning of 'history' and 'historical event' held by many contemporary south Koreans. I would argue that the film presents historical trauma and confusion. That is, notions of both rationality and system are undermined by visible evidence that history is the concatenated and reified effect of red complex and ideology of cold war. 〈Silmido〉 telles us with great imagination. One can be in history, can make history, without paying attention and without understanding. Thus, reflection and reflexivity are a waste of time. 〈Silmido〉 denies the hermeneutic necessity of understanding the significance of that larger temporal spread we live and narrativize socially as history or histories. We don't know what it means. Ironic and playful, its thematics, mise-en-scene, and mode of representation make visible the breakdown of the segmentation that secured for us the borders and value between significant and trivial event, between fact and fiction, between experience and its representation. Furthermore, this narrative paradox is also figured as representational paradox. In sum, 〈Silmido〉 stands as both symptom of and gloss upon a contemporary moment in which history and historical consciousness have been often described on the one hand as at an end, and on the other hand have been the object of unprecedented public attention and contestation. One might say we are in a moment marked by a peculiarly novel readiness for history among the general population. That is, people seem to carry themselves with certain reflexive phenomenological comportment toward their immediate immersion in the present, self-consciously grasping their own objective posture with an eye to its imminent future possibilities for representation as the historical past.

시선의 제국에서 살아가기

김경욱(Kim Kyoung Wook) 한국영화학회 1999 영화연구 Vol.- No.15

Sight, in the West, always took priority over other senses. Greek culture was founded on the proposition that everything should/could be seen through, which stressed the importance of sight, as in the philosophies of Aristotle and Plato. In Renaissance after the Middle Ages, sight began to become privileged; 'perspective', rationalization of seeing, put the "seeing" subject in the center of the visible world, creating absolute sight. The seeing subject deprived the world of its own existence and the ontological meaning, resulting in a quintessentially modern need to claim the world now reduced and adapted to his eye. This new and strong sense of ownership shaped the upcoming bourgeois society while fueling its colonization and imperialism. Panopticon, the ideal prison suggested by Bentham in 1791, clearly shows the inseparable relation between power and gaze, watch and spectacle. Hypothesized only on sight excluding all other senses, it indicates the very nature of modern sight completely devoid of interaction between the watcher and the watched. Cinema is the product of the Western ocularcentrism, an outcome of the ever-accelerating prioritization of sight since Renaissance. Alfred Hitchcock's films serve as an excellent text to show the historical origin of an apparatus called cinema. Rear Window(1953), for instance, raises the question of "looking" through the voyeuristic hero Jefferies. The process of his gaze becoming surveillance mirrors the relationships in modern society where people can't interact with each other. Jefferies in the real world cannot interrelate with his beautiful fiancee Lisa, because the prioritized sight affects the level of touch, causing the meaning of "touching" to be distorted. Hitchcock movie may be criticized for turning the audience into voyeurist, but it offers a poignant self image of our modem world where eye prevails.

할리우드 블록버스터의 전개과정과 이데올로기

김경욱(Kim Kyoung Wook) 한국영화학회 2002 영화연구 Vol.- No.19

In 1975, the war in Vietnam finally ended and the era of American New Cinema which had come in the 1960s had also declined. While Steven Spielberg's films like 〈Jaws〉(75), 〈Raiders of the lost Ark〉 (81), 〈E.T.〉(82), 〈Indiana Johns〉 (84) and George Lucas's films like 'Star Wars Triology'(〈Star Wars〉(77), 〈The Empire Strikes Back〉(80), 〈Return of the Jedi〉(83)) were all box office hits. All of them had obtained box office profits of more than 100,000,000 dollars, With the success of box office Hollywood entered the period of the Blockbuster movie. 111e periods of classical Hollywood cinema, experiments and movements ended and Hollywood's major film companies changed their focus. The blockbuster became the new in-thing. At that time, U.S. society was experiencing some of their biggest troubles in their history since World War Ⅱ. This was the 1970s, liberalism and the major movements of the sixties(Feminism, Black Radicalism, Student Rebellions) came to be rejected and conservatism came to life again. Conservative forces would mount a decade-long counterattack against New Deal liberalism and New Left radicalism that would culminate in the election of Ronald Reagan to the presidency in 1980. Under the leadership of Ronald Reagan, the revived conservative social movements managed to turn back many of the liberal social gains of the preceding fifty years. While the new conservatism came to dominate U.S. society, Hollywood films all came under the influence of that conservatism. During that period, Hollywood turned right wing. Above all, it created the ideology of the Hollywood blockbuster. As a result, there exist blockbusters which deal with militarism, racism, patriarchism, and imperialism in Hollywood.

웹서비스를 이용한 기업응용 오케스트레이션 설계 및 구현

김경욱(Kyoung-Wook Kim),변정용(JeongYong Byun) 한국정보과학회 영남지부 2007 한국정보과학회 영남지부 학술발표논문집 Vol.1 No.1

웹 응용 기술이 발달됨에 따라 기업 간의 전자거래(B2B) 중심으로 변화하면서 서로 다른 플렛폼 상의 기업 응용들 간의 상호운용성을 구현하는 일이 필요하게 되었다. 본 논문에서는 웹서비스 오케스트레이션을 설계하고 구현하여 웹서비스의 상호운용성과 수행성능을 개선하는데 목적을 두고 있다. 오케스트레이션은 여러 가지 악기들이 하나의 곡을 연주하듯 하나의 서비스를 수행하기 위하여 작은 서비스로 나누고 웹서비스를 기반으로 각 기업응용들이 작은 서비스들을 각각 수행하며, 또한 실험을 위하여 웹서비스 기반 자동차부품산업 시스템을 설계하고 구현하였다.

〈마더〉와 〈시〉, 소녀의 죽음에 응답하는 한국영화의 두 가지 방식

김경욱(Kim Kyoung Wook) 한국영화학회 2010 영화연구 Vol.0 No.46

Bong Joon-ho's Mother is a story about mother's love into a mystery thriller that will keep you guessing every step of the way, with enough emotional firepower to twist a knot in your stomach when the truth gets played out. It's a standard three act structure here where the first hour establishes the strong family bonds between Mother (Kim Hye-Ja) and child Yoon Do-Joan (Won Bin), bordering quite close to being incestuous (but this is glossed over since we're dealing with a man-child here), before they key murder scene becomes the catalyst for Mother to do some serious investigations work in order to prove her son's innocence, given that the perverted justice system provided that bad after-taste. It's the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a "rather you than me" syndrome, which I believe every one of us are capable of if we find ourselves pushed to a comer with no where to run. Bong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments. In Lee Chang-dang's latest film Poetry, winner of the award for Best Screenplay at the Cannes Film Festival, a young girl commits suicide after being repeatedly raped by a group of juveniles. Sadly, the fathers of the other boys are only interested in protecting their sons from prosecution, silencing the press and school officials, and collecting enough money to payoff the girl's mother. Like Secret Sunshine, Poetry revolves around a woman mourning the death of a child, although here it is not her own. The idea for the film had its origin in a true case where a small town schoolgirl had been raped by a gang of teenage boys. In contrast to the grandmother in Bong-Joon-ho's Mother who refused to believe her son was responsible for a murder, Mija, a 66-year old played by Yung Jungee learns from the fathers of the other boys that her l6-year old grandson Wook (Lee Da-wit) was one of the six people involved in the rape and wishes to pursue justice. Though Mija privately knows that it is more important for the boys including her own personal responsibility to acknowledge their role in the crime, living in the male-dominated middle class Korean society, she reluctantly tries to raise her share of the payoff money, but expresses her feelings in not wanting to participate by the look on her face and by abruptly walking out of meetings. Yet the question must be raised - would not Mija have made more of a difference if she had engaged in a quiet conversation with her morally-challenged grandson about knowing.

Ocutome - Fragmatome System 을 이용한 백내장 수술에 대한 임상적 고찰

김경욱(Kyoung Wook Kim),김용환(Yong Whan Kim) 대한안과학회 1985 대한안과학회지 Vol.26 No.5

기하학적 형상 변경에 따르 플로팅 링 실의 특성 연구

김경욱(Kyoung-wook Kim),김창호(Chang-Ho Kim),하태웅(Tae- Wong Ha),이용복(Yong-Bok Lee) 한국소음진동공학회 2006 한국소음진동공학회 학술대회논문집 Vol.2006 No.5

한국영화에서 한국전쟁이 재현되는 변화과정에 관한 연구

김경욱(Kim, Kyoung Wook) 한국영화학회 2013 영화연구 Vol.0 No.55

In the 5,000 years Korean history, the Korean war was the most tragic and devastating affliction. Over the past 60 years, Civil War and the division of nation was affected South Korea in almost all areas of society. Korean war cinema represented anti-communism until the end of the Park’s regime. From 1970s to 1980s, Korean film industry was depressed. At that time, some authors made Korean war cinema very seriously. However, in 1999, after the success of 〈Shiri〉, Korean film industry went Korean blockbuster era rapidly. Korean war movie, 〈Taegukgi hwinalrimyeo〉(2004) had a great box-office success. <Welcome to Dongmakgol〉 (2005) also had a box office hit. In the 2000s, Korea has a fundamentally different aspect. In times before, Korean experienced the war directly. Now the war is known only as a historical event by the postwar generation. As a concrete example, let’s investigate 〈Welcome to Dongmakgol〉 〈Gojijeon〉(2011). Spectators cheered ‘Dongmakgol’, as an utopia. It reflected fatigue society after the IMF in 1997. Korean society has been gripped by crude materialism and harsh competition. In 〈Gojijeon〉, the Korean soldiers are suffering from post-traumatic stress disorder. In former battle, they killed fellow soldiers to survive. This film ended that the hero worked through heaps of corpses in despair. This is deep suspicion about the war, but there is no mourning. This is Korea’s sentiment about the Korean war in the postwar generation.