야다마 신이치(山田新一)의 재조선 시대—해제 : 야마다 신이치의 「현실의 조선 - 조선 재방문」

하라다 마사토시,김경연,야마다 신이치 한국근현대미술사학회(구 한국근대미술사학회) 2014 한국근현대미술사학 Vol.28 No.-

먼저 이번에 소개하는 야마다 신이치의 「현실의 조선 - 조선 재방문」 및 재조선 관련 자료는 미야코노죠 시립미술관(都城市立美術館)이 2012년 미야자키(宮崎) 시의 아오키 오사무(靑木脩) 씨로부터 기증받은 모두 75점에 달하는 파일, 책, 노트 등으로서 아직 정리가 진행 중인 자료라는 점을 밝히고 싶다. 만년의 야마다는 아틀리에를 정리하면서 작품은 미야코노죠 시립미술관에, 자료는 아오키 화구점에 기탁하였는데 이 자료들은 야마다의 폭 넓은 교우관계를 보여준다. 인간관계를 생생하게 드러내는 내용들이 포함되어 있는데 일부는아틀리에에서 소각되었다. 또 그의 수기(手記) 「현실의 조선 - 조선 재방문(再渡鮮)」에 쓰여 있는 한국인의 이름은 공개되지 않도록 하였고 자신과의 관계 때문에 주변에 폐가 되지않게 신경을 썼던 듯했다. 그리고 경성에서 발송된 편지 종류가 매우 적은 데에는 같은 지역에 사는 사람들이니 편지를 주고받을 필요가 없었던 까닭도 있었겠지만 한편으로 조선미술전과 전쟁기록화의 제작에서부터 전쟁 이후의 수집에 이르기까지 시대에 농락당했다는야마다의 판단 때문이기도 하다. 전쟁이 끝날 무렵 일본인화가의 전쟁기록화를 소각 처분하라는 명령을 받은 야마다는 작품을 경성에 은닉하였다. 전후에 동료 화가들의 비난을 받으면서도 작품의 미술적인 가치를 호소하며 수집에 매달렸던 야마다였기에 일부분이긴 하지만 편지류를 소각한 것은 지금 생각하면 유감스러운 일이다. 또한 야마다의 막내 따님이신 산본유녕(山本瑠寧) 씨가 기증한 자료 68점, 그리고 야마다의 여동생이신 후지타 미치코(藤田道子) 씨와 그의 아들 요네하루(米春) 씨의 자료를 바탕으로 조선에서의 야마다 신이치와 그의 주변상황을 일부 소개하겠다.

책속으로 : 행복의 경제학

신이치 대한금속·재료학회 2010 재료마당 Vol.23 No.1

중단회 회화사

오사키 신이치로(尾崎信一郞),문정희(옮김) 한국미술연구소 2013 美術史論壇 Vol.- No.37

The main subject of this study is postwar abstract art in Japan, with a focus on paintings in particular. Abstract paintings began to arise in Japan in the 1910s, but became subjected to severe persecution during World War Ⅱ. Afterward, paintings in the realist vein that portrayed repentance over the war and contemporary political struggles came to form the mainstream in postwar Japan. However, an internationally acclaimed group of abstract artists rose to prominence in Japan in the mid-1950s. The group, known as the Gutai Art Association, consisted of Jiro Yoshihara, a pioneering figure of abstract painting in Japan, and his young followers. The group produced numerous innovative works and exhibitions in its early days, including outdoor exhibitions and dynamic action paintings on stages. Although the members of the Guatai group have made significant progress in terms of their mission to revolutionize abstract art, they have not been given due attention in the discourses up to date on modernist paintings. The Gutai painters sought to transform paintings from copies and emulations of objects into traces of objects, and came to share quite a sophisticated and advanced aesthetic akin to that of the minimal art in the 1960s that went over the boundaries of abstract expressionism. This significant achievement, however, failed to garner proper appreciation from contemporary critics, and eventually came to be forgotten as no subsequent generations of artists inherited it. After a period of full interruption and oblivion throughout the 1960s, Japanese abstract art began to surface again in the 1970s, thanks to the Monoha painters and other artists of the 1980s that had inherited the formalist tradition. These later generations of abstract painters, however, sought to continue the works of only certain individual artists, without making in-depth efforts to situate their style and tradition against the backdrop of a consistent context. In other words, abstract paintings reached a groundbreaking moment in the 1950s, only to come to an abrupt end afterward. It is this interruption that, more than anything else, defines abstract art and its evolutions in Japan.

사운드스케이프 디자인

이와미야 신이치로(岩宮 眞一郞),김기홍(金基弘) 한국건축친환경설비학회 2008 건축환경설비 Vol.2 No.4

중단된 회화사 戰後 일본의 추상회화

오사키 신이치로,문정희 한국미술연구소 2013 美術史論壇 Vol.- No.37

The main subject of this study is postwar abstract art in Japan, with a focus on paintings in particular. Abstract paintings began to arise in Japan in the 1910s, but became subjected to severe persecution during World War II. Afterward, paintings in the realist vein that portrayed repentance over the war and contemporary political struggles came to form the mainstream in postwar Japan. However, an internationally acclaimed group of abstract artists rose to prominence in Japan in the mid-1950s. The group, known as the Gutai Art Association, consisted of Jiro Yoshihara, a pioneering figure of abstract painting in Japan, and his young followers. The group produced numerous innovative works and exhibitions in its early days, including outdoor exhibitions and dynamic action paintings on stages. Although the members of the Gutai group have made significant progress in terms of their mission to revolutionize abstract art, they have not been given due attention in the discourses up to date on modernist paintings. The Gutai painters sought to transform paintings from copies and emulations of objects into traces of objects, and came to share quite a sophisticated and advanced aesthetic akin to that of the minimal art in the 1960s that went over the boundaries of abstract expressionism. This significant achievement, however, failed to garner proper appreciation from contemporary critics, and eventually came to be forgotten as no subsequent generations of artists inherited it. After a period of full interruption and oblivion throughout the 1960s, Japanese abstract art began to surface again in the 1970s, thanks to the Monoha painters and other artists of the 1980s that had inherited the formalist tradition. These later generations of abstract painters, however, sought to continue the works of only certain individual artists, without making in-depth efforts to situate their style and tradition against the backdrop of a consistent context. In other words, abstract paintings reached a groundbreaking moment in the 1950s, only to come to an abrupt end afterward. It is this interruption that, more than anything else, defines abstract art and its evolution in Japan.

Chemical Determination of High Molecular Weight of Poly-v-Glutamic Acid

Chung Park(박청),Shinichiro Hara(하라 신이치로),Tomomitsu Sewaki(세와키 토모미츠),Kenji Soda(소다 겐지),Makoto Ashiuchi(아시우치 마코토),Moon-Hee Sung(성문희) 한국생물공학회 2004 한국생물공학회 학술대회 Vol.2004 No.10

Identification of the Pig β-1,3-N-acetylglucosaminyltransferase 1 (pB3GNT1) that is Involved in Poly-N-acetyllactosamine (poly-LacNAc) Synthesis

Ji-Youn Kim(김지윤),Hwan-Jin Hwang(황환진),Hak-Jae Chung(정학재),Shinichi Hochi(신이치호치),Mi-Ryung Park(박미령),Sung June Byun(변승준),Keon Bong Oh(오건봉),Hyeon-Yang(양 현),Kyung-Woon Kim(김경운) 한국생명과학회 2018 생명과학회지 Vol.28 No.4

당 단백질에 붙어 있는 당사슬 구조는 형질전환 돼지 유즙으로 분비되는 의약용 단백질의 생물학적 활성, 안정성 그리고 안전성에 영향을 줄 수 있다. 형질전환 동물을 이용한 치료용 당 단백질 생산은 유선 세포에서 이루어지는 당사슬 부가능력에 의해 제한되며, 균일한 당사슬 형태를 가지는 당 단백질 생산은 도전 과제로 남아있다. β-1,3-N-acetylglucosaminylatransferase1 (B3GNT1) 유전자는 N-아세틸글루코사민에 갈락토오스 잔기를 부착시키는 단백질 당화기작에 중요한 효소이지만, 돼지 당 전이효소에 대한 정보는 매우 제한적이다. 따라서, 돼지 B3GNT1 (pB3GNT1) 유전자를 클로닝하고 N-아세틸글루코사민에 갈락토오스 잔기를 부착시키는 기능적 특성을 조사하였다. 몇가지 다른 프라이머를 사용하여 전체 전사영역(ORF)을 함유하는 부분적인 pB3GNT1 mRNA 염기서열을 간 조직으로부터 분리하였다. 클로닝 된 pB3GNT1의 ORF는 1,248개의 뉴클레오티드를 가지며, 415개 아미노산 잔기로 구성되어 있었다. pB3GNT1 유전자의 장기별 발현특성은 성돈 및 자돈의 여러 기관에서 분석하였다. pB3GNT1 mRNA 발현 수준은 심장, 소장 보다는 근육에서 높았지만 폐에서는 낮았다. pB3GNT1의 기능적 특성 분석을 위해 돼지 신장 세포주(PK-15)에서 pB3GNT1 유전자의 안정적인 발현을 확립하였다. 그 결과, PK-15 세포에서 pB3GNT1 발현에 의한 당화 패턴은 총 시알산 증가에는 영향을 미치지 않지만, poly-N-아세틸글루코사민은 증가하는 것으로 나타났다. 본 연구는 생물반응기로 형질전환 돼지를 이용할 때 희망하는 당사슬을 부가하여 치료 가능성을 높이며 개선된 활성을 나타내는 당단백질 생산에 도움이 될 것이다. The structure of glycan residues attached to glycoproteins can influence the biological activity, stability, and safety of pharmaceutical proteins delivered from transgenic pig milk. The production of therapeutic glycoprotein in transgenic livestock animals is limited, as the glycosylation of mammary gland cells and the production of glycoproteins with the desired homogeneous glycoform remain a challenge. The β-1,3-N-acetylglucosaminylatransferase1 (B3GNT1) gene is an important enzyme that attaches N-acetylglucosamine (GlcNAc) to galactose (Gal) residues for protein glycosylation; however, there is limited information about pig glycosyltransferases. Therefore, we cloned the pig B3GNT1 (pB3GNT1) and investigated its functional properties that could attach N-acetylglucosamine to galactose residue. Using several different primers, a partial pB3GNT1 mRNA sequence containing the full open reading frame (ORF) was isolated from liver tissue. The ORF of pB3GNT1 contained 1,248 nucleotides and encoded 415 amino acid residues. Organ-dependent expression of the pB3GNT1 gene was confirmed in various organs from adult and juvenile pigs. The pB3GNT1 mRNA expression level was high in the muscles of the heart and small intestine but was lower in the lungs. For functional characterization of pB3GNT1, we established a stable expression of the pB3GNT1 gene in the porcine kidney cell line (PK-15). As a result, it was suggested that the glycosylation pattern of pB3GNT1 expression in PK-15 cells did not affect the total sialic acid level but increased the poly N-acetyllactosamine level. The results of this study can be used to produce glycoproteins with improved properties and therapeutic potential for the generation of desired glycosylation using transgenic pigs as bioreactors.

Development of Explicit and Implicit Knowledge of Different Grammatical Forms by Learners with Different ESL Learning Backgrounds

신이치 이즈미 Sophia linguistica 2004 Graduate School of Languages and Linguistics Vol.1 No.52

“Looking at Legitimacy and Illegitimacy from a Historical Perspective,” Sekai 681 (November 2000)

아라이 신이치 서울대학교 규장각한국학연구원 2005 Seoul journal of Korean studies Vol.18 No.-

남북한 경제의 명암

노조에 신이치(野副伸一) 고려대학교 아세아문제연구소 2005 한일공동연구총서 Vol.2005 No.12