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차옥수(Cha Ok Soo),김경미(Kim Kyung Mee) 한국여성체육학회 1994 한국여성체육학회지 Vol.8 No.-
There are characteristics of Kosong Ogwangdae, Tongyong Ogwangdae and Kasan Owangdae which is occurred in Kyungsang-namdo area : 1. Three Ogwangdaes have same orign but they are handed down different area. Three Owangdaes became important intangible cultural assets because + of their unique characters of dances. 2. Kosong Ogwangdae and Tongyong ogwangdae is composed by five chapters. and kasan Ogwangdae is composed by six chapters. Even if their structure of chapter is different, name of chapters has a point of similarity. 3. They have unique gaps in their characteristic of dances. Kosong Ogwangdae is composed by active an live motions. Tongyong Ogwangdae is composed by smooth and gentle motions. And Kasan Ogwangdae is composed by weak and light motions. 4. Kosong Ogwangdae uses Taryung and Dutbagy rhythm, Tongyong Ogwangdae uses Yumbul and Taryung rhythm and Kasan Ogwangdae uses rapid Taryung and Dutbagy rhyhm Three Ogwangdae use Sa-mul instrurrents. Kosong and Tongyong Ogwangdaes use Nalnaly but Kasan Ogwangdae does not use Nalnaly. 5. Dress and its ornaments of three ogwangdaes are same but the colors and their stage properties are different And properties are different by life style and customs which are handed down at specific areas.
차옥수(Cha Ok Soo),이명자(Lee Myung Ja) 한국여성체육학회 1991 한국여성체육학회지 Vol.5 No.-
The study investigated the characteristic and common motions of traditional Korean folk dances. When the Jinju Jummu, the Seungzeonmu, the Seungmu and the Taepyeongmu are performed by standard rhythm, the change of the positions of the each part of the dancers body were analyzed by image analyzing method using a video tape recoder. The obtained results were as follows : 1) The common motions of traditional Korean folk dances include lots of soft slow elastic bending and stretching motions in the knees. While bending the upper body during, a vanity of dancing motions are performed. There are many motions where the arms are stretched horizontally and vertically. There are no running jumps, but there are some short hops performed on one leg. During the dance there is no time where the foot is raised above the knee. 2) The mean values of the positions of the head during the dances were not statistically significance. There is a gradual bending of the knees in the dances. The Taeopyeongmu has the most bending followed by the Seungzeonmu, the Seungmu and the Jinju Kummu respectively. The mean values of the positions of the navel have a significant difference in each of the dances. The motions of sitting or lying flat are many. The Seungmu has greatest number of sitting and lying position followed by the Taepyeongmu, the Seungzeonmu and the Jinju Kummu respectively. The mean values of the positions of the right elbow during the dances is significant in each of the dances and the Seungmu has the largest width moving up and down, the next is in the Jinju Kummu, the Taepyeongmu and finally the Seungzeonmu. The mean values of the positions of the Seungzeonmu. The mean values of the positions of the right knee during the dabces were significant in each of the dances and the position of the knee is highest in the Jinju Kummu, the Taepyeongmu, the Seungzeonmu and the seungmu respectively.
JSAP1 Interacts with Kinesin Light Chain 1 through Conserved Binding Segments
김진상,이철희,박혜영,예성수,장원희,이상경,박영홍,차옥수,문일수,석대현,Kim, Sang-Jin,Lee, Chul-Hee,Park, Hye-Young,Yea, Sung-Su,Jang, Won-Hee,Lee, Sang-Kyeong,Park, Yeong-Hong,Cha, Ok-Soo,Moon, Il-Soo,Seog, Dae-Hyun Korean Society of Life Science 2007 생명과학회지 Vol.17 No.7
KIF5는 2분자의 kinesin heavy chain (KHC)과 2분자의 kinesin light cham (KLC)으로 구성되며 미세소관과 직접 결합한다. KIF5는 여러가지 세포 내 소기관을 이동시키나 KIF5가 이동시키는 운반체가 어떻게 특이적으로 결합하는지는 아직 밝혀지지 못하였다. 본 연구에서 효모 two-hybrid system을 사용하여 KLC1의 tetratricopeptide repeats (TRP) 부위와 결합하는 세포 내의 단백질을 분리하였다. 결과 KLC1와 특이적으로 결합하는JNK/stress-activated protein kinase-associated protein 1 (JSAP1/JIP3)을 분리하였다. 이러한 결합은 KLC1의 TRP1, 2 영역과 JSAP1의 leucine zipper 영역이 결합에 관여하며, 또한 효모 two-hybrid assay에서 JSAP1은 KLC2와 결합하지만 신경세포에서 발현하는 KIF5A, KIF5C 그리고 모든 세포에서 발현하는 KIF5B와는 결합하지 않았다. 단백질간의 결합을 pull-down assay로 확인한 결과 KLC1은 glutathione S-transferase (GST)와는 결합하지 않으나 GST결한 JSAP1과는 결합하였다. 또한 생쥐의 뇌 파쇄 액으로부터 JSAP1 항체로 면역침강을 행한 결과 KLC1은 JSAP1과 같이 침강하였다. 이러한 결과들은 KLC1은 JSAP1과 결합하며, JSAP1은 KLC1의 수용체로세포 내 KIF5의 수송의 매개 단백질로 작용함을 시사한다. A conventional kinesin, KIF5/kinesin-I, is composed of two kinesin heavy chains (KHCs) and two kinesin light chains (KLCs) and binds directly to microtubules. KIF5 motor mediates the transport of various membranous organelles, but the mechanism how they recognize and bind to a specific cargo has not yet been completely elucidated. Here, we used the yeast two-hybrid system to identify the neuronal protein(s) that interacts with the tetratricopeptide repeats (TRP) of KLCI and found a specific interaction with JNK/stress-activated protein kinase-associated protein 1 (JSAP1/JIPP3). The yeast two-hybrid assay demonstrated that the TRP 1,2 domain-containing region of KLCI mediated binding to the leucine zipper domain of JSAP1. JSAP1 also bound to the TRP region of lac2 but not to neuronal KIF5A, KIF5C and ubiquitous KIF5B in the yeast two-hybrid assay. In addition, these proteins showed specific interactions in the GST pull-down assay and by co-immunoprecipitation. KLCI and KIF5B interacted with GST-ISAP1 fusion proteins, but not with GST alone. An antibody to JSAPI specifically co-immunoprecipitated KIF5s associated with JSAP1 from mouse brain extracts. These results suggest that JSAP1, as KLC1 receptor, is involved in the KIF5 mediated transport.
晋州劍舞와 運動負荷에 관하여 : on the Changing Number of Heart Beat 心拍數를 中心으로
車玉秀,林聖愛 진주교육대학교 1979 論文集 Vol.19 No.1
This study was performed to understand an effect physical excercise on heart beat of Jinju Kummoo. The resuts were as follows. 1) When the collegian had rest after physical excercise beared, the number of heart beat were a group of physical excercise beared less than a group of physical excercise nonbcared. 2) When the intensity of force in various motions which is used in Jinju Kummoo was high motion, the heart blat number of rest was shown high.
舞踊基本動作에 의한 體力增進效果에 관한 小考 : -晉州劍舞와 新體操를 中心으로- -in the Jinju Kummoo and Mordern Gymnastics-
車玉秀,林聖愛 진주교육대학교 1983 論文集 Vol.27 No.1
This study was investigated about the effect of the basic steps in dance such as Jinju Kummoo and mordern gymnastics on the physical fithness. The results obtained were as follows: 1. Yeunpoondae in Jinju Kummoo, and balance and jump in modern gymnastics can he available for the improvement of physical fitness in tempo 100/min. 2. Yeunpoondae in Jinju Kummoo, and circular movement, swing, balance and jump in mordern gymnastics can be available for the improvement of physical fitness in tempo 120/min. 3. Dodoly and Yeunpoongdae in Jinju Kummo, and swing in mordern gymnastics can be available for the improvement of physical fitness in tempo 140/min, but other basic steps being extreme in mordern gymnastics can not be available. 4. Proper choosing steps and tempo in dance by age twos essential to improve physical fitness.
車玉秀 진주교육대학교 부설 진주문화권연구소 1981 진주문화 Vol.- No.2
This study was carried out to investigate the rhythm and dancing motion: which compose of Jinju Kummoo. The results obtained are as follows. 1. In the motion of Jinju Kummoo, Jinju Kummoo is a ritual dancing with manners at the biginngng of dancing and is wholly obedient in the dancing motion and rhythm. So we hardly find out the young spirit and technique in the Jinju Kummoo which are shown in the mordern ordinary Kummoo. However Jinju Kummoo shows the chastity as a traditional dancing. In the middle part of motion, Jinju Kummoo has a rhythm of whole body, which causes a certain inpulse, delicate technique and generosity. Also Jinju Kummoo in the middle part of motion gives deeply the artistic odour as a traditional dancing which contains a pure charm. The Yeunpoongdae motion which is a climax in this dancing has a dynamic and active rhythm. Therefore we may be concluded that Jinju Kummoo is a popular dancing by the people and has a connection which points out traditional orthodoxy. 2. The intensity of motion in Jinju Kummoo was largely affected by the individual rhythm and was slightly affected by the dancing motion. 3. The rhythm of Jinju Kummoo has a slow and quick tempos and harmonizes timely. The type of dancing motion in Jinju Kummoo also has a visualharmony. Therefore it may be considered that Jinju Kummoo has a considerably high artistic effect in the whole expression.