가미향사육군자탕(加味香砂六君子湯)이 생쥐 소장(小腸)에서 방사선조사(放射線照射) 후(後) 보호효과(保護效果)와 Apoptosis에 미치는 영향(影響)

이태업,김진성,윤상협,류봉하,박동원,류기원,Lee, Tae-Eob,Kim, Jin-Sung,Yoon, Sang-Heup,Ryu, Bong-Ha,Park, Dong-Won,Ryu, Ki-Won 대한암한의학회 2000 大韓癌韓醫學會誌 Vol.6 No.1

The present study was performed in order to evaluate the effects of the gamihyangsayukgunjatang on radioprotection and apoptosis in small intestines of mice after whole body irradiation. Two hundred forty mice were divided into 40 groups according to the radiation dose and the gamihyangsayukgunjatang treatment. The extracts of the herbal medicines were orally administered to each group differently before and/or after irradiation. The gamihyangsayukgunjatang treated groups were divided into 3 groups. Sample Ⅰ was the group treated with the gamihyangsayukgunjatang for 3 days before the radiation, sample Ⅱ was the group treated with the gamihyangsayukgunjatang for 3 days after the radiation. Sample Ⅲ was the group treated with the gamihyangsayukgunjatang for both 3 days before and after the radiation. To analyze the crypt survival, the micradony survival assay was used according to the Withers and Elind's method. To analyze the apptosis, the TUNEL assay was done. The results obtained are a follows : 1. From the microcolony survival assay, the gamihyangsayukgunjatang treated groups showed the radioprotective effect with a statistical significance(p<0.05), as compared to the control group. Comparing the radioprotective effect among the 3 groups, sample III was statistically more significant than sample I and II (p<0.05). Sample I showed no effect. In accordance with the research mentioned above, it is suggested that the radioprotective effect of the gamihyangsayukgunjatang is more useful for the treatment of the radiation injury rather that the prevention. 2. The results of the TUNEL assay showed that the apoptotic index in the gamihyangsayukgunjatang treated group was slightly decreased with no effectiveness, as compared to the control group. According to the above results, it could be suggested that the gamihyangsayukgujatang has a prominent protective effect in mice intestines against the radiation damage. However, the radioprotective effect does not seem to be related to inhibition of the apoptosis.

加味香砂六君子湯이 생쥐 小腸에서 放射線照射 後 保護效果와 Apoptosis에 미치는 影響

이태업,김진성,윤상협,류봉하,박동원,류기원 대한한방종양학회 2000 대한한방종양학회지 Vol.6 No.1

The present study was performed in order to evaluate the effects of the gamihyangsayukgunjatang on radioprotection and apoptoss in small intestines of mice after whole bdy irradiation. Two hundred forty mice were divided into 40 groups according to the radiation dose and the gamihyangsayukgunjatang treatment. The extracts of the herbal medicines were orally administered to each group differently before and/or after irradiation. The gamihyangsayukgunjatang treated groups were divided into 3 groups. Sample Ⅰ was the group treated with the gamihyangsayukgunjatang for 3 days before the radiation, sample Ⅱ was the group treated with the gamihyangsayukgunjatang for 3 days after the radiation. Sample Ⅲ was the group treated with the gamihyangsayukgunjatang for both 3 days before and after the radiation. To analyze the crypt survival, the micradony survival assay was used according to the Withers and Elind's method. To analyze the apptosis, the TUNEL assay was done. The reslts obtained are a follows : 1. From the microcolony survival assay, the gamihyangsayukgunjatang treated groups showed theradioprotective effect with a statistical ignificance(p<0.05), as compared to the control group. Comparing the radioprotective effect among the 3 groups, sample Ⅲ was statistically more significant than sample Ⅰand Ⅱ (p<O.O5). Sample Ⅰ showed no effect. In accordance with the research mentioned above, it is suggested that the radioprotective effect of the gamihyangsayukgunjatang is more useful for the treatment of the radiation injury rather that the prevention. 2. The results of the TUNEL assay showed that the apoptotic index in the gamihyangsayukgunjatang treaed group was slightly decreased with no effectiveness, as compared to the control group. According to the above results, it could be suggested that the gammyangsayukgummang has a prominent protective effect in mice intestines against the radiation damage. However, the radioprotective effect does not seem to be related to inhibition of the apoptosis.

秦觀詞에 보이는 傷心의 境界

정태업(鄭台業)(Jung, Tae-Up) 대한중국학회 2015 중국학 Vol.52 No.-

秦觀은 北宋의 대표적인 詞人이며 蘇門四學士의 한 사람이다. 그러나 蘇東坡의 豪放한 詞風과는 전혀 다른 婉約한 詞風으로 一家를 이루었다. 이는 秦觀의 人生遭遇와 깊은 관계가 있다. 秦觀은 科擧에 두 번이나 落第를 하고 네 차례에 걸쳐 貶謫을 당한다. 淸代馮煦는 秦觀을 두고 ‘옛날 傷心한 사람’이라고 했다. 진관은 평생을 근심과 상심 속에서 살았다. 傷心한 秦觀의 人生은 詞작품 속에 그대로 나타난다. 科擧에 두 번 落榜하였을때의 傷心, 거듭된 貶謫으로 인한 絶望과 挫折속의 傷心, 흐르는 歲月대한 본연적 傷心이 그것이다. 본 연구에서는 진관이 落第와 貶謫으로 인한 傷心의 情을 어떻게 사 작품으로 표현했으며 그 風格적 특징이 어떠한지를 살펴보았다. 진관은 평생을 좌절과 상심 속에서 굴곡 많은 인생 을 살아야 했다. 그로 말미암아 진관의 사는 전통적인 만당오대의 艶麗하고 婉約한 詞風을 수용하면서도 凄?하고 淸麗한 새로운 詞風을 이루어 詞의 새로운 境界를 개척했다고 할수 있겠다. 秦?是北宋?期代表?人, 又“蘇門四學士”之一。但秦?的?????的??截然不同。秦?的?充溢着?心之情,在?材方面愁?的?容?多,情?低?感?,愁思哀怨。秦?的婉?凄?的???他的人生遭遇密切有?。他??次科擧考?都落第,到了三十七?才考中?士。而在京?短?的官?生活后,他又被?至?州、?州、?州、雷州。本硏究就分析了秦?的落第????的?心之情,如何表?在他的作品中。?此,?三??段?探析了秦??的?心之情。第一?段是?士落第后的?心之情。此?秦??作品?有?感而仍然持有希望。因??被??,他仍然保持了回京的希望,所以??期秦??,在?格上‘?新婉?’的作品?多。第二?段是??后的?心之情。此?,?次的??后,他逐?失去了希望,所以在?的?容??格上也??不少的?化,?多作品流溢着?郁凄?的情?。第三?段是??月无可奈何的?感之情。秦?被四次的??后,追求了佛老式的超越人生?度,因此在?容和?格上多?作了‘??’的作品,但?多作品上仍流出?心之情。但??史上看,秦?的??悲?凄苦的人生境遇,反而?他的?可以???唐五代詞風的影?,給北宋的???起了新的?境

北宋初期 詞의 침체원인 분석

정태업(Jung Tae Up)(鄭台業) 대한중국학회 2016 중국학 Vol.57 No.-

The poetry, Ci(詞), failed to thrive for half a century in the early years of the Song(宋) Dynasty. This study investigates the circumstances that caused such a result. First, the few writers in the early Northern Song Dynasty were mostly from the Southern regions including Sichuan(四川), Jiangsu(江蘇), and Fujian(福建). Ci(詞) was developed in the Southern regions before the establishment of the Song Dynasty. The rulers of this new dynasty believed the decadent music and the poetry recited along with it was the main culprit of the Southern empire s fall. That is why they detested the southern poetry. Second, in the early years of Song Dynasty literary persons from southern regions were not appointed as government officials. Naturally, the chance to further develop Ci(詞) was limited. Third, the constant wars with the south, the countless riots that erupted in various regions, and the prolonged war with Liao(遼) Dynasty didn t provide the atmosphere to enrich Ci(詞) literature. These reasons explain the halt to the advancement of Ci(詞) during this age. Reaching the middle years of the Northern Song Dynasty did Ci (詞) begin to finally blossom due to the stability established at that time. 북송초기 詞는 반세기 이상의 침체기를 맞는다. 그 원인을 분석하면 다음 몇 가지 사실에 기인했음을 할 수 있다. 첫째로 송을 건국한 통치자들은 남방 제국이 멸망한 이유를 남방의 퇴폐적 음악과 사에 있다고 보았다. 그래서 그들은 의도적으로 남방의 사를 배척했다. 북송초기 사 작가 대부분이 남방 사람들이었음이 이를 증명한다. 또 송 이전까지 사는 남방에서 흥성한 남방문학이었다. 둘째, 송 건국초기 남방 문인들을 등용하지 않았다. 남방왕조의 문신들을 송조에 등용되지 못했고 자연스럽게 남방 문학인 사가 북방 지역에 거점을 둔 북송시대에 발전할 수 없었다. 셋째, 송은 초기에 남방 여러 나라와의 통일전쟁을 했다. 남방 각 지역에서 일어나는 민란과 전쟁은 사가 발전할 사회적 환경을 제공하지 못했다. 넷째 정책적으로 사를 금했다. 따라서 사의 발전은 송이 안정되는 북송 중기까지 기다릴 수밖에 없었다.

蘇門四學士 貶謫前後詞 比較

정태업(Jung Tae Up)(鄭台業) 대한중국학회 2017 중국학 Vol.61 No.-

蘇門四學士의 詞는 貶謫 이전과 貶謫 이후로 나눌 수 있다. 蘇門四學士의 폄적이전 詞風은 婉約한 반면 폄적이후에는 豪放, 沈鬱, 飄逸한 풍격을 보인다. 이는 폄적의 심경을 사를 통해 표현했기 때문이다. 당시 詩는 정치적으로 민감하여 폄적의 감정을 마음대로 표현할 수 없었다. 그렇기 때문에 그들은 정치적 관심이 덜한 사를 통해 자신의 심경을 표현했다. 결과적으로 이는 詞의 詩化를 가져와 사의 내용과 풍격을 변화시켰다. 소식으로부터 시작된 詞의 詩化는 蘇門四學士의 계승을 통해 가능했다. 왜냐하면 당시 蘇門四學士는 송대 문단을 대표하는 문인들이었다. 따라서 蘇門四學士의 폄적전후를 비교 고찰하는 것은 송사의 변화와 발전을 설명해 줄 수 있는 관건적 시기이다. 폄적이후 나타난 그들 사풍의 변화는 송대 사단 전체에 영향을 주었다. 蘇門四學士의 폄적사는 사의 내용을 확대시키고 풍격을 넓혀 이후 사풍의 변화를 이끌었다. 후대 辛棄疾과 朱敦儒 등의 豪放詞人에게 큰 영향을 주었다. The verse(詞) of the Four Scholars of Sumen(蘇門四學士) can be separated into those before and after relegation(貶謫). The verse(詞) prior to the relegation display a feminine style(婉約) while those following the relegation reflect a masculine(豪放), melancholy(沈鬱), and detached(飄逸) style. The verse(詞) reveal the mental state during relegation. Poems(詩) were politically sensitive so there were limits to expressing one s emotions. So verse(詞) was preferred to poems. Eventually, the pattern of verse(詞) began to resemble that of traditional poetry, transforming the contents and style of verse(詞). This trend began with Sushi(蘇軾) s works and was succeeded by the Four Scholars of Sumen(蘇門四學士), who were representative writers during Song(宋) dynasty. The comparative analysis of these two periods of verse(詞) can play a critical role in explaining the dynamism and development of Song s verse(宋詞). The latter period works gave influence to the entire genre of Song verse(宋詞) and played a leading role in enriching the contents and style of verse(詞). Masculine-style writers like Xinqiji(辛棄疾) and Zhudunru(朱敦儒) were influenced by this style.

李煜詞의 時空間 轉移에 따른 風格變化

정태업(Jung, Tae-Up)(鄭台業) 대한중국학회 2020 중국학 Vol.73 No.-

초기 이욱 사는 전통적인 화간사의 風格을 계승하여 완약하다. 그러나 이욱이 군주가 된 후 나라가 점점 기울고 부인과 자식이 죽으면서 그의 사풍은 깊은 인생의 감회를 담게 된다. 만년에는 남당이 멸망하고 송의 포로가 되어 변경으로 압송되어 유배 생활을 하게 되면서 이욱 사는 더욱 심오한 의경을 창출하게 된다. 이것을 시공간적 측면에서 고찰해보면 이욱이 평화로운 생활을 할 때의 작품들은 그 묘사대상이 바로 곁에 있고 모든 생활이 궁정 속에서 이루어지고 있어 자신의 생활과 묘사하는 모든 대상이 시공간적으로 큰 이격이 발생하지 않는다. 그러나 이욱이 군주가 된 후 사랑하는 사람들이 죽자 그의 사에는 이승과 저승이라는 시간적 이격이 나타난다. 이러한 시간적 이격은 이욱 사의 풍격을 한 단계 더 높이고 있다. 다시 남당이 멸망하고 이욱이 포로가 되어 쓴 사들은 시간뿐만 아니라 공간적으로도 큰 이격이 발생한다. 이욱사는 시간과 공간의 이격이 점차 커지면서 더 깊은 서정성을 갖추고 뛰어난 의경을 창출하고 있다. 본 연구는 시공간적 이격 확대로 인한 이욱사 풍격의 변화를 살펴보았다. The Poetry of LiYu was influenced by traditional Haajian style, and reflected an inherent grace. Yet, Since LiYu became king and saw his kingdom begin to fall, and lost his wife and child, his poetic style displayed the sentiments of his personal life. When South Tang collapsed and became Song s captive, he was forced into exile and was sent to Bianjing, which brought his artistic conception to a profound level. Examining these stylistic features from a temporal and spacial perspective, when LiYu was at peace his works focused on themes close to his life, especially within the boundary of the palace. In other words, his real life and the objects described in his poems were interrelated. However, after he gained the throne and departed with his loved ones, his works illustrated the discrepancy between this life and afterlife. His loss and despair demonstrated in the temporal gap gave his poetry a sense of melancholy and developed the overall style into maturity. When South Tang was on the road to collapse and LiYu became captive, the poems written in the capital of Song Dynasty created a further gap not only in terms of time but also space. As the discrepancy grew wider, the substance and style of his poetry reflected lyricism and artistic conception. This paper examines the development of LiYu s poetic style from the perspective of temporal and spacial gap.

唐宋詞에 나타난 女人의 生活文化 - 化粧, 衣服, 裝飾 -

鄭台業 동북아시아문화학회 2010 동북아 문화연구 Vol.1 No.23

Reading foreign literature without cultural understanding limits the readers’ perspective in interpreting the written art. Tang and Sung lyrics, in particular, contain a variety of descriptive expressions based on their unique cultures. The early versions had descriptions of women’s artifacts in daily life, creating a soft and gentle image in the songs. Yet, modern readers have difficulty coping with these cultural items, which leads to errors in analyzing the accurate meaning and limits understanding. These items are also reflected in ceramics and drawings of this period, ranging from apparel and cosmetics to ornaments such as beaded blinds, folding screens, and pillows, all displaying their distinctive beauty. This paperstudies the aesthetic tastes and consciousness of the women in Tang and Sung dynasty reflected in the cultural items used in everyday life. A comprehensive comparison of the lyrics which contain the aforementioned items enhances our understanding of the aspects and implications these articles portray. This gives us an opportunity to rediscover the value of this particular type of literary art, and appreciate its distinctive style and image. It is also meaningful that this study opens the possibility of interdisciplinary research between the field of pure poetry and fine arts and cultural history.

李之儀의 戀情詞와 詞論

정태업 대한중국학회 2023 중국학 Vol.82 No.-

Li Zhi Yi(李之儀) was a poet and disciple of Su Shi(蘇軾). His Ci(詞) had a gentle and elegant style, quite distinctive from Su Shi’s bold and unconstrained approach. This style is rooted in Li Zhi Yi’s life journey and his perspective on Ci. When he was relegated and banished from the court to live in Dangtu(當塗), he met Yang Zhu(楊姝) who was a geisha(歌妓). Their encounter was deemed destiny, and they came together as a family and had children of their own. Later they were forced to separate caught in the middle of a political scheme. In the midst of such turmoil, Li Zhi Yi wrote a series of romantic poetry for his loved one. More than half of his works are actually love poems. The characteristics that define such poems are ‘graceful and restrained’, ‘pure and refined’, and ‘folk style(民歌)’. Such styles have been developed through the lifelong agony of this poet. His style raised the standard for future Ci(詞). This paper examines Li Zhi Yi’s romantic poetry and its commentary and discusses his stylistic characteristics.

蘇東坡 詞에 나타난 江의 의미

정태업 대한중국학회 2009 중국학 Vol.34 No.-

苏东坡一生数次被贬適或外放,其中因"乌台诗案"而被贬至黄州的一次,使他的人生观起了新的变化。他原有的儒学的价值观在经过任职黄州之后,逐渐归依佛老思想、开始有了较达观的人生态度。这种人生观的变化在他的词作有所表达。以‘江’为形象的词作中,被贬適之前作品中江的形象与其他诗人的作品一样是离别与相会的"江";但在经历人生曲折与艰难后,就变成以怀古的和历史的侧面去看的、超越的"江"。苏轼就是在这样的词作超脱的境界中去诠释他人生中遭遇到的挫折与绝望,并通过江水去表达大自然悠久与永存的法则。所以,东坡在一生经历无数的桎梏岁月、越是直面艰辛的命运时,其诗词、尤其是词作,越是发出宝石般的光芒,象滚滚长江一样东流不尽。总之東坡詞所描写的"江"以王國維的境界說来说的话"春色三分, 二分塵土, 一分流水”是其第一境也。"人生如夢,一樽還酹江月”是其第二境也。"小舟從此逝, 江海寄餘生”是其第三境也。

姜夔詞의 雅化 方式 小考- 戀情詞의 詠物化를 중심으로

정태업 동북아시아문화학회 2019 동북아 문화연구 Vol.1 No.61

Traditional Poetry experienced two major stylistic transformations in the Song Dynasty. The feminine style was replaced with a masculine style during Sudongpo's age, followed by an elegant style in Southern Song Dynasty during JianKui's period. JiangKui(姜夔) was a representative poet of Southern Song Dynasty. The characteristic of his poetic style was elegance and purity. His superior skills were capable of transforming love poems that could easily seem vulgar into a sophisticated piece of art work. This paper examines how JiangKui's style was manifested in his poetry. First of all, he started his literary pieces with an introductory section that portrayed an elegant touch. In most of his work, the initial part of the poetry illustrates the background of the creation of the verse and the writer's impressions. The lengthy and beautifully composed introductions contributed to enhancing the exquisite style of the overall work. These openings consisted of more than 100 characters and were comparable to essays of refined style. Second, JiangKui's description of objects added grace to his love poems. Rather than directly reflecting his emotions in verse, he opted for metaphoric expressions that referred to natural features such as apricot blossoms, a willow tree, or a lotus. These mechanisms allowed his literary work to reach a higher level of sophistication. According to the analysis of this paper, half of JiangKui's poetry relied on this method of object depiction to express affection. There are also poems that relied on dreams or the Korean lute to communicate the poet's impression. As such, the introductory sections and metaphorical depictions of objects are the main contributors to adding purity and elegance to JiangKui's literary work.