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이미나,이상훈,김종철,Lee, Mi-Na,Lee, Sang-Hoon,Kim, Chong-Chul 대한소아치과학회 1997 대한소아치과학회지 Vol.24 No.1
Argon laser used in this case report, is special in having two wavelength of 488, 514nm blue-green visible light spectrum. Blue light is used for composite resin polymerization and caries detection. Green light is used for soft tissue surgery and coagulation. Maximum absorption of this laser light occurs in red pigmentation such as hemoglobin. The argon laser may be well-suited for selective destruction of blood clots and hemangioma with minimal damage to adjacent tissues. Argon laser light penetrates tissue to the 1 mm depth, so its thermal intensity is lower than $CO_2$ laser light. Also, due to its short wavelength it can be focused in a small spot and even single gene can be excised by this laser and microscopy. After applicating argon laser to 4 patient for surgical procedure and to 1 patient for curing the composite resin, following results were obtained. 1. Improved visibility were gained due to hemostasis and no specific technique were needed according to easy recontouring of the tissue. 2. Ability to use by contact mode, tactile sense was superior but tissue dragability and accumulation of tissue on the tip needed sweeping motion. 3. Additive local anesthetic procedure was needed. 4. No suture and less curing time reduced chair time, this made argon laser available in pediatric dentistry.
시모무라 간잔(下村觀山)의 <일월>과 오카다 사부로스케(岡田三郞助)의 <나부> 조사
이미나(Lee Mi-na),김지영(번역자) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.28 No.-
The Korean Imperial Household played an ongoing role in contributing to the formation of the country’s modern Japanese art collection. Purchasing many works of Japanese art, largely from exhibitions held within Korea or government-organized exhibitions within Japan, the Imperial Household served as the greatest patron of Japanese art within the Korean peninsula. Some of the works owned by the Imperial Household, particularly those that were displayed as part of Japanese art exhibitions that took place in the Imperial Household Art Museum, inside the present-day Deoksu Palace, are now owned by the National Museum of Korea, as part of what is commonly known as the Imperial Household Collection. However, the entire truth about the Imperial Household’s art collection has, to this day, not been made fully clear. As well as those works of art that it purchased publicly in a systemic manner, the Imperial Household also acquired works of art by other means, and indeed, it is thought that works attained in these non-standard ways account for a decent proportion of its collection. Aside from those works now making up the Imperial Household Collection at the National Museum of Korea, the majority of the works of art previously owned by the Imperial Household were scattered and lost during the various transformations that took place after the end of the Second World War. Several pieces identifiable as once belonging to the collection have been discovered within Japan. In this essay, I trace the way in which two such works?Sun and Moon by Kanzan Shimomura, and Nude by Saburousuke Okada ?came to be the property of the Imperial Household. Although the Korean Imperial Household’s Palace was located in Seoul, during the Japanese occupation the Prince Lee Un was forced to live in Tokyo, returning only occasionally to his home in Korea. Prince Lee Un’s wife Lee Bangja, born Masako Nashimoto, came from the Nashimoto-no-miya, a collateral branch of the Japanese Imperial Family. Hence, in terms both of their living arrangements and their genealogical situation, the state of the Imperial household at this time visibly instantiates its structural ties to the two nations. This paper will also use an examination of these two artworks to ask questions and make predictions about how, within this kind of situation, such works of art were stored and appreciated, as well the kind of ways in which they might have been preserved and used. Through this kind of research, I hope to help shed light on the matter of the art making up the Imperial Household’s collection beyond those pieces that were accumulated through the standard means, in order to come to a deeper understanding of the relationship between the Imperial Household and Japanese art.
댓글의 논조, 숫자, 사전 태도가 이슈의 합의추정에 미치는 영향
이미나(Mi Na Lee) 사이버커뮤니케이션학회 2010 사이버 커뮤니케이션 학보 Vol.27 No.3
본 연구에서는 이슈에 엮인 댓글이 해당 이슈에 대한 사람들의 의견을 추정하는 단서로 작용할 가능성에 주목하여 댓글의 논조와 숫자, 이슈에 대한 태도가 해당 이슈에 동의하는 사람들의 퍼센티지를 추정하는 데에 미치는 효과를 고찰했다. 〈연구 1〉에서는 댓글의 논조(찬, 반)와 숫자(0,1,3)를 달리하여 해당 이슈에 동의하는 사람들의 퍼센티지를 측정했으며 연구결과, 합의추정치는 댓글의 특성에 따라 일관된 차이를 보였다. 곧, 찬성논조의 댓글을 읽은 그룹은 반대논조의 댓글을 읽은 그룹보다 동의하는 사람들의 퍼센티지를 더 높게 추정했으며 댓글의 숫자가 증가함에 따라 합의추정치가 증가했다. <연구 2>에서는 이러한 결과를 합의성 착각 효과(False Consensus Effect)로 파악하고 사전태도 변인을 추가하여 댓글의 논조와 숫자가 합의성추정에 미치는 영향을 FCE의 측면에서 고찰했다. 연구결과, FCE에 상응하는 패턴이 부분적으로 발견돼, 댓글이 없는 경우 14.24%의 FCE, 찬성 댓글노출의 경우 19.34%의 FCE, 반대댓글 노출의 경우 16.69%의 FCE를 관찰할 수 있었다. This study reports the findings from two studies which examine the effect of Internet replies on public opinion perception. In Study 1, the Internet replies were manipulated by the quantity and stances toward an issue. Public opinion perception was measured by the percentages of people who agree to the issue. The results are that depending on the quantity and stance in Internet replies, the estimated percentages consistently vary; the estimated percentage of consensus was greater when the Internet replies favor the issue and when the greater number of Internet replies was provided. Based on Study 1, additional variable was considered in Study 2 to examine the effect of prior attitude toward an issue. Study 2 found out that the estimations of consensus are different accordingly by prior attitude. The findings ware interpreted as the false consensus effect. In particular, 14.24% of FCE was observed in the control group, 19.34% of FCE in the condition of reading the Internet replies which support the issue and finally 16.69% of FCE in the con-condition of reading the Internet replies which oppose the issue.
이미나(Mi-na Lee) 구보학회 2023 구보학보 Vol.- No.34
무형(無形)의 시간 예술인 ‘음악’을 유형화(有形化)한 음향 미디어의 출현은 음악 예술의 근원적인 성격을 변화시켰으며, 음악을 감상하고 해석하는 새로운 방식을 창출하였다. 소리를 기록하고 재생하는 기술의 등장으로 잡을 수 없는 음악이 용기에 담겨 물질화되면서 시공간을 초월하여 언제 어디에서든 음악을 감상할 수 있게 된 것이다. 이것은 음악 경험의 형식을 근본적으로 바꾸는 혁신이었으며, 현대 음악과 예술의 경향을 크게 바꾸어 놓은 결정적인 사건이었다. 특히 소리를 기록하고 재생하는 음향 미디어테크놀로지는 음악을 소비하는 문화를 배태한 핵심 요인이었다. 19세기 후반에 등장한 음향 재생 기술은 20세기에 본격적으로 확산되면서 청각적 근대화를 촉발하였고, 이른바 유성기, 레코드, 라디오 등의 뉴미디어는 청각적 근대성의 기표로 자리매김하였다. 이처럼 음향 미디어테크놀로지는 복제된 ‘소리’의 확산을 가능하게 한 근원 매체이자 음악 문화의 지형도를 변화시킨 역사적 산물이었다. 본고에서는 이러한 음향 미디어테크놀로지와 복제된 ‘소리’를 둘러싼 다양한 문화적・사회적 양상을 당대 한국 소설을 중심으로 살펴보았다. 또한 ‘유성기’와 ‘유성기음반’이 도입되었던 근대 시기에 형성된 새로운 청각 문화의 일면과 소리를 기록하고 재생하는 음향 기술을 통해 음악을 소비하는 현상을 면밀하게 탐구하였다. 이효석의 「거리의 목가」와 방인근의 「쌍홍무」는 당시 음향 미디어를 통해 음악을 소비하는 현상과 음반을 취입하는 레코드 산업의 일면이 구체적으로 묘사되고 있다. 유진오의 「가을」과 이효석의 「마음의 의장」에서는 유성기음반의 시간제약성과 소리의 유형성, 시공간을 넘나드는 이동성, 여러 번 재생할 수 있는 반복성을 모두 포함하는 포노그래프 효과가 나타나며, 이는 청취자의 행동과 반응뿐만 아니라 음악 생활 전반에 영향을 미치는 것으로 이해할 수 있다. 이처럼 1930년대는 유성기와 유성기음반, 라디오 등 다양한 음악 양식이 출현하면서 이전과는 다른 근대적 음환경(音環境)이 형성되었다. 이러한 음향적 사건은 ‘소리’의 공간적 확산과 시간적 제약을 극복하게 하였고, 이는 근대 청각 문화의 핵심 요인이라고 할 수 있다. 1930년대 다수의 소설에 등장하는 음향 재생 매체를 둘러싼 청취의 실행은 ‘소리’의 시공간의 확장과 레코딩 기술의 재현이라는 다양한 음향적 가능성을 담지한 문화적 현상으로 묘사되고 있다고 평가할 수 있다. The advent of sound media, a tangible version of intangible temporal art, music, changed the fundamental characteristic of musical arts, creating a new way of appreciating and interpreting art. The advent of recording and reproduction technology materialized music by putting it into a concrete container, making it possible for humans to appreciate music beyond the limits of time and space. This was an innovation that changed the form of music experience from its basis and a key event that drastically changed the flow of modern music and art. In particular, sound media technology which records and plays sound was where the culture of consuming music originated from. Arising in the late 19th century, audio reproduction technology began to spread and cause auditory modernization in the 20th century. The technology made the new media – gramophone, record, radio, etc – a signifier of auditory modernity. As written above, audio media technology was the source for the dispersion of replicated ‘sound’ and a historical product that changed the geography of music culture. In this report, we reviewed the audio media technology and various cultural・social aspects surrounding the replicated ‘sound’ focusing on Korean novels of the period. In addition, we investigated some aspects of the new auditory culture formed during the modern era, the period when the ‘gramophone’ and the ‘gramophone record’ was introduced, and the consumption of music through sound technology providing recording and reproduction. The <Geori eu Mokga>(Street Idyll) of Lee Hyo-seok and <Ssanghongmu> of Bang In-Geun describe the consumption of music through sound media and some aspects of the record industry which records disks in detail. <Gaeul>(Autumn) by Yu Jin-oh and <The Design of the Heart> by Lee Hyo-seok shows the phonograph effect, which includes the time limitation of gramophone records, the tangibility of sound, mobility that allows passing freely through time and space and repetition that allows the sound to be played multiple times, and this can be understood to affect not only the act and reaction of the listener but also their entire music life. As above, during the 1930s, the modern soundscape formed as various forms of music such as gramophone, gramophone record, and radio emerged. Such an auditory event made the sound spread out in terms of space and overcome its limitations on time, which is the main factor in explaining the modern auditory culture. The act of listening surrounding the media used for audio reproduction can be assessed be described as a cultural phenomenon that contains various auditory possibilities such as spatiotemporal expansion of ‘sound’ and revival of recording technology.
스토리텔링 기법을 적용한 어린이 체험전시공간의 디자인 기획에 관한 연구
이미나(Lee, Mi-Na),변대중(Byun, Dae-Joong) 한국실내디자인학회 2011 한국실내디자인학회 학술대회논문집 Vol.13 No.1
In this study, I will present a realistic application direction by studying specific models that were approached out of realistic needs to use professional exhibition technique storytelling technique, the best suited strategy to meet the goal of Gwacheon National Science Museum’s Explore Hall for Children’s special exhibition for children. As a study method, exhibition content and status were exploited through case studies on domestic children exhibitions using storytelling techniques after theoretical contemplation. Based on this method, Gwacheon National Science Museum’s Explore Hall for Children, located at Gwacheon National Science Museum’s Explore Hall for Children 100, was selected to be the space applying storytelling technique. A design proposal using this technique was made in order to provide children better understanding of the core value of exhibit. Through this proposal, we analyzed the effect and difference between experimental and storytelling exhibits. We expected that storytelling method strengthens the overall content of the exhibition flow, allowing the children to experience with awareness. By including the child in the same context as the exhibition, communication can be achieved between the protagonist and the child. This induces interaction between intellectual and emotional exhibit, which supports the original goal of opening the exhibit that understands the nature of a child. Our design plan for Gwacheon National Science Museum’s Explore Hall for Children will support in achieving this goal.
전래놀이프로그램이 유아의 행복감과 리더십에 미치는 효과
이미나(Mi-Na Lee)김경희(Kyung-Hee Kim) 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.8
본 연구는 전래놀이와 전래동요 활동이 유아의 행복감과 리더십에 미치는 영향을 알아보고자 실시하였다. 연구문제는 첫째, 전래놀이와 전래동요 활동은 유아의 행복감에 미치는 효과는 어떠한가? 둘째, 전래놀이와 전래동요 활동은 유아의 리더십에 미치는 효과는 어떠한가? 연구대상은 G시 소재 어린이집 유아 38명(실험집단, 19명, 통제집단, 19명)이다. 행복감 측정도구는 이은주(2010)가 개발한 측 정도구와 리더십 측정도구는 김성숙(2008)이 개발한 교사용 평정척도를 사용하였다. 전래놀이 및 전동요는 한국의 문화와 전통의 지식 및 개념, 신념, 가치 등을 학습하도록 구성되어 있다. 또한, 유아발달 특성을 고려하여 발달 과업을 참고하였다. 본 프로그램은 개인 보다는 또래 간 함께 하는 활동과 협동놀이로 구성되어 있다. 전래놀이 및 전래동요 활동은 현재 국가수준의 교육과정인 만5세 누리과정이다. 연구결과, 유아교육기관에서의 전래놀이 활동이 유아의 행복감과 리더십에 효과가 있음을 알 수 있다. 이에 전래놀이와 전래동요 활동은 행복감과 리더십을 위해 매우 중요한 활동으로 교육현장에서 적극적으로 활용될 수 있음을 시사한다. 이러한 경험은 미래를 주도할 유능한 사회인으로써 변화를 주도할 수 있는 리더자 교육의 필요성을 시사한다. The purpose of this research is to verify the effects of traditional plays and traditional songs on the happiness and leadership of young children. Research issues First, what is the effect of traditional play and traditional songs on the happiness of infants? Second, what are the effects of traditional play and traditional songs on young children s leadership? The subjects of the study were 38 children (experimental group n=19, control group, n=19) in nursery. For the measure of happiness, the measurement tool developed by Lee, Eun-Ju(2010) and the teacher s rating scale developed by Kim, Sung-Sook(2008) were used. The traditional play and traditional songs are structured to learn knowledge, concepts, beliefs and values of Korean culture and tradition. In addition, developmental tasks were considered in consideration of the developmental characteristics of infants. This program consists of Play with peers and cooperative play rather than individuals. The traditional play and swaying activity is the 5th year old curriculum which is the national level curriculum. Results, It can be seen that the traditional play activities at early childhood education institutions are effective for the happiness and leadership of infants. This suggests that traditional play and traditional song are very important activities for happiness and leadership and can be actively used in education field. An experience like this suggests a necessity of the education for leaders who can lead the future as a competent member of the society.
식민지 근대 문학에 나타난 ‘음악’의 의미 고찰 - 계몽·개화로서의 ‘음악’과 미적 근대성의 실현 -
이미나(Lee Mi Na) 한국문학과예술연구소 2021 한국문학과 예술 Vol.39 No.-
식민지 근대 ‘예술’의 개념이 도입되면서 서구음악은 근대 예술을 대표하는 것으로 인식되었고, 계몽‧개화의 수단으로 활용되면서 교양의 의미를 지니게 되었다. 당시 서구음악을 선호하는 세대가 등장하면서 음악은 미적 감수성을 자극하는 예술로 향유의 대상이 되었으며, 음악을 듣고 감상하는 행위를 통해 근대적 감각을 체득하기 시작하였다. 또한 1920년대 전문교육기관에 ‘음악과’가 신설되어 음악에 대한 체계적인 교육이 이루어지면서 서구음악은 근대적 삶을 형성하는 데 핵심적인 요인으로 작용하였다. 19세기 말 서구음악이 본격적으로 수용되면서 ‘음악(音樂)’과 관련된 용어도 새롭게 등장하기 시작하였다. ‘음악’이라는 용어는 중국에서 유래한 것이지만, 변역어로서 ‘music’을 의미하는 ‘음악’은 식민지 근대 서양음악이 본격적으로 유입된 시기에 고착되었다고 할 수 있다. 식민지 근대 통용되기 시작하였던 ‘음악’이라는 용어는 ‘music’의 번역어로 일본을 경유하여 들어왔으며 ‘서양음악’에 한정된 의미였다. 이러한 ‘음악’의 의미는 홍난파가 1919년 2월 발간한 최초의 음악잡지 『三光』에 실린 글들을 통해 구체적으로 살펴볼 수 있다. 홍난파는 「音樂이란 何오」에서 암흑과도 같은 조선의 상황을 극복하고 서구와 같은 신문명을 건립하기 위해서는 ‘음악의 힘’을 길러야 함을 강조한다. 또한 청자로 하여금 쾌감과 감흥을 일으킬 수 있는 음악의 요건을 제시하면서 감정을 발로할 수 있는 음악을 진정한 음악으로 보고 있다. ‘音樂小說’이라는 부제가 붙어 있는 홍난파의 「金牌의 行方」은 1910년대 서구로부터 유입된 ‘음악’의 개념과 근대 예술로서의 음악의 진정한 의미를 보여주고 있는 작품이다. 박영희의 「結婚 前日」은 음악으로 표상되는 예술적 삶과 타율적인 현실과의 괴리감을 주인공의 ‘감정’을 통해 묘사하고 있다. 나도향의 「젊은이의 시절」은 음악을 통해 감정의 역동적인 국면들을 표출하고 있으며, 초월적인 음악 세계의 일면을 그리고 있는 작품이다. 민태원의 「음악회」와 현진건의 「까막잡기」는 서양음악을 감상하고 향유하는 서구식 실내음악회의 풍경들을 사실적으로 묘사하고 있다. 이처럼 서구음악에 열망하는 시대적 상황과 음악가로서 미적 삶을 향유하는 당대 ‘호모 무지쿠스((Homo musicus)’들의 삶은 1910∼1920년대 창작된 다수의 소설에서 근대적 풍경으로 재현되고 있다. As the concept of colonial modern ‘art’ rose to the surface, western music started to be recognized as the representative figure of modern art and was seen as culture when it was utilized for enlightenment and repentance. The appearance of a generation which preferred western music at the time turned music into a subject of enjoyment that stimulates aesthetic sentiments, and the audience began to learn modern sensations through the act of listening to and appreciating music. Furthermore, systematic musical education with the installation of music major in educational institutions in the 1920s became a trigger that helped western music play a key role in forming the modern life. The acception of western music in earnest in the late 19th century brought birth to the word ‘音樂.’ It originated in China, but the translation of ‘音樂’ as music was fixed when colonial modern western music flew in. A translation of the word music generally used in modern colonies, ‘音樂’ entered through Japan and meant ‘western music.’ Articles in the very first music magazine “三光” published by Hong Nan-Pa in February 1919 give details to the meaning of such ‘music.’ In “音樂이란 何오” Hong Nan-Pa emphasizes the ‘power of music’ to overcome the dark situation of Joseon at the time and establish a new civilization like the western ones. He also suggests the conditions for music in which the audience can experience pleasure and inspiration, seeing music that reveals emotion as authentic music. Subtitled ‘音樂小說,’ Hong Nan-Pa’s ‘金牌의 行方’ illustrates the concept of ‘music’ coming from the west in the 1910s and the genuine meaning of music as modern art. Park Young-Hee’s ‘結婚前日’ describes the discrepancy between the artistic life represented by music and the heternomous reality through the ‘emotions’ of the protagonist. Na Do-Hyang’s “Season of Youth” expresses dynamic sides of emotion through music and pictures world. Min Tae-Won’s “Music Concert” and Hyun Jin-Geon‘s “Blindman’s Buff” realistically displays scenes of western indoors music concerts where western music is appreciated and enjoyed. Like such, the periodic situation with longing for western music and the lives of homo musikus who enjoy aesthetic lives as modern audience are recreated in the modern way in multiple fictions from the 1910s and the 1920s.