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시각적 매체를 활용한 한국화 감상영역의 수업 효과 분석 : 중학교 3학년을 중심으로
변지연 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1
In the 7th revision of processing education, the subject of art would more extend in terms of appreciative sense recently; among the three senses, such as aesthetic, expressive, and appreciative. As well as, it makes a point about traditional art because of established Korean's subject-hood in Korean traditional culture. Becoming modern society, a great many new trends of cultures are coming, but the biggest new trend is visual culture in today. Moreover, a great many people are easily touching visual culture by commercial film and TV drama show. Because of postmodernism, the education of art has to start from aesthetic sense of culture for the student. As well as, it needs critical understanding to Internet, Commercial, advertisement, and Media. Accordingly, this research is based on the consequence of traditional art; it analyzes effective ways of Korean-painting by using visual culture of matehal. As method and scope of research are; 1. How to study the theory of background knowledge in visual culture of education 2. How to know concept and background in terms of Korean painting during appreciative education of Korean painting 3. How to use visual material during appreciative education of Korean painting class 4. Analyzed effective way of teaching plan and giving a result. This was the random sampling from grade 3 (74 students) D middle school, in S region, and 37 people of control group as well. Furthermore, based on the average and standard deviation in terms of interesting of Korean painting, it did t-test and paired-t test because of difference of testing about research. It did survey not only control group, but also experimental students as well. Those experimental students join the using visual material of Korean-painting class plan in this research. After that, it increases and helps interesting and understanding Korean painting. Therefore, appreciative Korean painting of improvement is more class time during week (1 class per week, and 45' per class) and limited visual material at the school. Nevertheless, during research it had limited to show Korean painting by computer(PPT) for students. Defiantly, after using visual material, they are more interested in Korean-painting and understanding easily. Equally, there is a great many obstacles to use visual material at the school, but people have to study and keep eyes on the Korean traditional arts.
The Expressions of TGF-β_1 and IL-10 in Cultured Fibroblasts after ALA-IPL Photodynamic Treatment
변지연,Ga Youn Lee,최혜영,명기범,최유원 대한피부과학회 2011 Annals of Dermatology Vol.23 No.1
Background: Topical photodynamic therapy (PDT) with 5-aminolevulinic acid (ALA) was originally used for treating superficial skin tumors. The application of PDT to other inflammatory dermatoses like acne vulgaris, psoriasis,granuloma annulare, localized scleroderma and lichen sclerosus has recently been introduced. However, the underlying mechanisms are not well understood. We’ve previously reported the induction of tumor growth factor (TGF)-β_1 and interleukin (IL)-10 after PDT with ALA and intense pulsed light (IPL) in cultured HaCaT cells. Objective:The purpose of this study was to investigate the expressions of TGF-β_1 and IL-10 in cultured fibroblasts after PDT with using ALA and IPL. Methods: Cultured fibroblasts were treated with ALA-IPL PDT (1μmol/L of ALA; 0, 4, 8 and 12J/cm2 of IPL). The expressions of TGF-β_1 and IL-10 were investigated by reverse transcription-polymerase chain reaction and enzyme linked immunosorbent assay. Results:TGF-β_1 mRNA and protein were reduced down to 0.52- and 0.63-fold, respectively, after PDT and the IL-10 protein was increased up to 2.74-fold after PDT. Conclusion: The reduction of TGF-β_1 was prominent after PDT and so an antisclerotic effect can be expected after PDT. The induction of IL-10 may contribute to the anti-inflammatory effect,which explains the therapeutic benefit of PDT for inflammatory dermatoses. (Ann Dermatol 23(1) 19∼22,2011)
Modern Asian Poets under Western Gaze: Bei Dao and Yosano Akiko in World Literature
변지연 21세기영어영문학회 2018 영어영문학21 Vol.31 No.1
Although anthologies from Norton, Longman and Bedford have begun to encompass literatures from other countries and cultures under the category of world literature, they are often criticized for their Eurocentric perspective in introducing, describing, and selecting the works in their anthologies. In this paper, I will examine the ongoing discourse on world literature, and attempt to place Asian literature, especially modern East Asian poetry in this context by looking into two anthologies. I am mainly focusing on the poetry in The Longman Anthology of World Literature (2009) and The Norton Anthology of World Literature (2012) in order to examine how they explain world history and represent East Asian poets, and finally to question the validity of that representation. Both of the anthologies guide the readers through the modern history of the world in a rather Eurocentric way, largely focusing on modernism and its movements along with two world wars. It is not surprising therefore, when modern Asian poetry is either missing or unfitting to the theme under which it is explained. The Norton especially does not include any East Asian poets in its modern poetry section, and its editors might be the reason why. Although The Longman includes two East Asian poets, Bei Dao from China and Yosano Akiko from Japan, they are squeezed into the context of modernism and war narrative not for their writing style but for their political and cultural positions. While the anthology is often acknowledged as a marketing product, it also plays significant role in guiding the students academically, reflecting and contributing to the discourse on world literature. Such characteristics of the anthology necessitate editors and anthologists to mediate and interact more with unfamiliar non-Western scholars and authors in order to avoid Eurocentrism and include literatures outside of Europe and America without the risk of misrepresentation or negligence over distinctive poetics.