Definition of Purified Enzyme-Linked Immunosorbent Assay Antigens from the Culture Filtrate Protein of Mycobacterium bovis by Proteomic Analysis

Cho, Yun Sang,Lee, Sang-Eun,Ko, Young Joon,Cho, Donghee,Lee, Hyang Shim,Hwang, Inyeong,Nam, Hyangmi,Heo, Eunjung,Kim, Jong Man,Jung, Sukchan Taylor Francis 2009 JOURNAL OF IMMUNOASSAY AND IMMUNOCHEMISTRY Vol.30 No.3

<P> Enzyme-linked immunosorbent assay (ELISA) has been developed as the ancillary diagnosis of bovine tuberculosis at ante-mortem to overcome the disadvantages of intradermal skin test. In this study, the antigenic proteins were purified, applied to bTB ELISA, and identified through proteomic analysis. Culture filtrate protein of Mycobacterium bovis was fractionated by MonoQ® column chromatography, and examined the antigenicity by immunoblotting. The antigenic 20 kDa protein was in-gel digested and identified the antigenome by LTQ® mass spectrometer and peptide match fingerprinting, which were MPB64, MPB70, MPB83, Fas, Smc, Nrp, RpoC, Transposase, LeuA, and MtbE. The 20 kDa protein exhibited the highest antigenicity to bTB positive cattle in ELISA and would be useful for bTB serological diagnosis.</P>

Francis C. Penrose and the Development of Classical Archaeology in 19<SUP>th</SUP> Century Greece

Cho, Eunjung(조은정) 서양미술사학회 2020 서양미술사학회논문집 Vol.52 No.-

본 논문은 프랜시스 C. 펜로즈의 『아테네 건축 원리에 대한 조사』(1851)와 아테네 영국 연구소의 설립 및 초기 역사를 중심으로 19세기 후반 고전 고고학의 전환을 고찰한다. 펜로즈의 『원리』는 정확한 측정과 객관성으로 인해서 19세기 중엽까지 지속되어 온 딜레탄티즘의 전통에서 벗어나는 계기가 되었던 반면에 미학적 가치와 수학적 논리성을 중요시하는 신고전주의 건축 세계관에 여전히 머물러 있었다. 이러한 경향은 19세기 후반에 급속히 약화되는데, 당시 그리스 영토에서 발견된 새로운 고고학적 증거들 덕분에 고전 고고학과 미술사학은 과거 문헌학에 의존해 왔던 고전학 연구의 전통으로부터 독립적인 토대를 마련하게 되었으며 유물 자료에 대한 전문적이고 기술적인 접근이 요구되었기 때문이다. 1880년대에 펜로즈와 독일 고고학자 빌헬름 되르펠트 사이에서 벌어졌던 아크로폴리스 관련 논쟁들은 고대 그리스의 ‘실제’ 자료들에 대한 직접적 접근 권한이 고고학 연구에서 얼마나 필수적인 것인지를 증명한다. 1886년 아테네 영국 연구소의 개설과 더불어, 딜레탄트 협회로부터 영국 연구소로의 무게 중심 이동은 이러한 추이에 대한 증거이다. 특히 펜로즈가 초대 소장으로 재직할 당시의 영국 연구소 초기 역사는 서구 학계에서 고전 고고학이 고대 애호 취향으로부터 현장 발굴 중심의 과학적 학문 활동으로 전환되는 과정을 집약적으로 보여준다. This paper explores the transition of classical archaeology in the latter half of the 19th century, focusing on Francis C. Penrose’s An Investigation of the Principles of Athenian Architecture (1851) and early development of the British School at Athens. Although Penrose’s book distinguished itself from the long tradition of dilettantism, his interest in aesthetic value and mathematical logics made him remain in the neoclassical architectural world. These features were deeply rooted in the tradition of British philhellenism and classical studies. However, along with the newly discovered material evidence on Greek soil, classical archaeology and art history became more independent from the traditional classical studies which had heavily relied on philology. Several debates on the Acropolis excavation between Penrose and contemporary German archaeologist Wilhelm Dörpfeld in the 1880s show us how necessary it was to gain direct access to the ‘genuine’ materials of ancient Greece. The establishment of the British School at Athens in 1886 was an indicator of this development. The nascent history of the British School during Penrose’s term as the first director shows us how the concept of Greek archaeology in Western scholarship diverged from that of connoisseurs of antiquities to a scientific discipline of field excavations.

미토스와 히스토리아: 기원전 5세기 아테네 사회에서의 시각적 역사 기술과 신화적 수용의 문제

조은정(Cho, Eunjung) 한국미술사교육학회 2021 美術史學 Vol.- No.42

본 논문은 페르시아 전쟁 종전부터 펠로폰네소스 전쟁 발발에 이르는 기원전 5세기 아테네 사회에서 ‘히스토리아’와 ‘미토스’가 서로 어떻게 상호작용하면서 동시대 텍스트와 조형물들에서 기록되고 기념되었는지를 고찰한다. 특히 아테네 아고라와 아크로폴리스 공공 조형물들에서 등장하기 시작한 역사적 주제의 시각적 서술 방식과 신화적 수용 양상이 헤로도토스와 투키디데스의 저술에서 강조된 ‘히스토리아’ 개념과 어떻게 연결되는지 분석한다. 고대 그리스인들에게 히스토리아가 지닌 영향력은 자신이 직접 보거나 알고 있던 것들을 넘어서는 과거 일들에 대해서 증거와 정보를 모으는 문의 행위에서 나오는 것으로, 근거가 확인되지 않은 채로 전해져 내려오는 미토스와 구별되는 지점이다. 동시대의 사건들이 지닌 역사적 가치에 대한 자각은 페르시아 전쟁을 통해서 헬라스인들 사이의 ‘첫째가는 힘(ἀρχή)’으로 부상했던 아테네인들 사이에서 더욱 두드러진 움직임으로 나타났다. 수십 년 전의 역사적 사건들이 신화의 사건들과 어우러져서 복합적인 층위를 이루고 있는 아고라와 아크로폴리스의 공공 조형물들이 대표적인 사례이다. 기원전 5세기 히스토리아 개념의 전개 양상은 당시의 ‘아포덱시스(ἀπόδειξις)’ 방식과 밀접하게 연계되어 있다. 과거 구전되었던 미토스와 달리, 고전기 저자들의 역사 저술을 통해서 사실 여부에 대한 문의 행위와 교차 검증이 이루어지면서 훨씬 더 구체적이고 현실적인 구속력을 지니게 되었다. 그러나 고전기 그리스인들에게 신화와 역사는 현대적 관점에서 인식되는 것처럼 엄격하게 구분되는 것은 아니었다. 〈독재자 살해자들〉 동상과 스토아 포이킬레 회화, 파르테논과 아테나 니케 신전 부조들은 기원전 5세기 아테네 사회에서 동시대 역사적 업적들이 공공기념물의 영역으로 침투하여 신화화되는 양상을 보여준다. This paper explores the phases of interactions between ‘historia(ἱστορία)’ and ‘mythos(μῦθος)’ in the 5th century B.C. Athenian society, focusing on the public monuments built in Athenian Agora and Acropolis from the end of the Persian War till the outbreak of the Peloponnesian War. The ways of visualizing and mythologizing of historical subjects in these monuments are closely connected with the concept of historia emphasized in the writings of two contemporary historians, Herodotos and Thucydides. Ancient Greeks considered that the power of historia derived from the act of inquiry, which made a person collect enough evidences and data to judge its reliability, surpassing his limitation of time and space. It also made historia divided from mythos, an unconfirmed story delivered from the unknown past. Athenians became keenly aware of the historical value of contemporary events after the Persian War, with their arche(ἀρχή) among the Hellenes. The public monuments of the Agora and the Acropolis show us the various layers of narrative, where recent historical events mingled with the traditional mythological themes. The development of the concept of historia during the 5<SUP>th</SUP> century B.C. were interrelated with the changing method of apodexis(ἀπόδειξις). Contrasted to the oral tradition of mythos, writing of the Classical authors provide the narrative of historia concrete and binding power. Yet we have to keep in mind that historia and mythos are not the equivalent of history and myths in the modern definition, and they often affected each other. The Tyrannicides statue, the battle scenes of the Stoa Poikile, the Parthenon, and the Temple of Athena Nike show us how the historial achievements of the 5<SUP>th</SUP> century B.C. became mythologized and monumentalized in the public domain.

교원성과상여금제도와 교원의 전문성과의 관계에 관한 경험 분석 연구

조은정(Eunjung Cho),이수정(Soojeong Lee) 한국질적탐구학회 2020 질적탐구 Vol.6 No.4

본 연구는 교원성과상여금제도가 학교 교사문화에 따라 교사전문성 향상의 실패 혹은 성공에 어떻게 영향을 미치는가를 탐구하고자 하였다. 교원성과상여금제도에 대한 교원의 태도와 관점이 경력별, 학교소재지별, 학교규모별로 다르게 나타난 선행연구의 결과를 기초로, 경기도 초등학교 교원을 대상으로 그들이 속한 학교와 교원 개인의 특성을 고려하여 면담 대상자를 선정하고 면담연구를 실시하였다. 근거이론방법에 따라 면담을 실시한 결과, 첫째, 교원성과상여금제 정책은 교사문화의 특수성을 간과한 탓에 교사들은 소외감과 무기력함을 느끼는 것으로 나타났고, 둘째, 교원 성과상여금 제도를 위한 다면평가 지표(정량평가)가 교사들 간에 갈등을 조장하고 수업과 생활지도 및 업무를 잘하는 교사에게 인센티브를 주는 것과의 연관성이 크지 않은 것으로 드러났으며, 셋째, 교원성과상여금제는 부장업무 및 6학년 담당교사가 S등급을 받는다는 인식이 높은 것으로 나타났다. 이상의 문제의식을 느끼는 교사들은 자신의 경험을 바탕으로 교사들이 교원성과상여금제 정책의 주도권을 갖고 수업과 학생 생활지도에 집중할 수 있기를 원하며 교원성과상여금제의 업무 수당화, 균등분배 또는 폐지로 전반적 개선안 마련을 위한 정책 연구가 필요하다고 인식하는 것으로 나타났다. The purpose of this study, is to observe how the performance incentive system and the teaching culture of a school is related, and how the performance incentive system affects the development of teacher’s professionalism. Analyzing the preceding studies implies that differences in opinions about the effectiveness of performance incentive system can be represented by the teacher’s career, school location, and school size. Based on the grounded theory method, elementary school teachers in Gyeonggi Province were interviewed about the teacher performance incentive system that they have experienced. The results are as following. First, teachers’ performance incentive policy overlooked the specificity of a teacher’s culture, thus teachers felt alienated and helpless to the policy. Second, the multi-faceted evaluation index(quantitative evaluation) for the teacher performance incentive system was not related to giving incentives to teachers with better class quality and work performance, rather causing conflicts among teachers. Third, most teachers percieved that the performance incentive system rated teachers who are in charge of head of department and/or sixth grade S grade. Finally, teachers who noticed these problems want to have more initiative upon the teacher performance incentive policy to focus more on their class and colsulting students. Based on their own experience, the teacher’s performance incentive policy needs to modified through work allowance, equal distribution or even termination.

전후 한국현대미술의 이념적 동인

조은정(Cho Eunjung) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.25 No.-

There is no doubt that the 1950s was the upheaval in the modern history of Korea. Reason for this, Korean War and the consequent political, social, economic, and cultural change occurred in the 1950s. The awareness about the world, separated from the previous period, also appeared. The 1950s is the time which should be discussed in depth on historical and art historical context. Reason for this, grabbing 1956, 57 as origin years of modern art is the prevailing view. This prevailing view is distinguished from the origin year of contemporary art which is broken into several opinions according to various comments. Meanwhile, the 1950s is a period when the trauma of modern Korea, Korean was formed. The tragedy of fratricidal war was occurred by the proxy fight of the East and West sides. In the midst of this fight, genocide was experienced by ideological confrontation to being exploited by politicians. In a short period of time, a lot of people had to watch mutual antagonism and hates of conservative and liberal, right-wing and left-wing, the tradition and modern in the process of death to the public. ‘Modernism’ is in the Fur Sich position of tradition. However, modernism in Korean art is used as examples of art with tendency of abstract as being pointed out early. This usage invites confusion of abstract art, started from Informel in the 1950s, and the modernism, started in the 1930s. In that sense, there is a need to read what the modernism meant to us according to the thoughts of people from the day. Although a same word forming a different semantic network according to the person who use is inevitable, the spatial background called ‘same age’ as a basis needs to be exactly described in critical text and art discourse. This thesis places its emphasis on the meaning and proposed direction of tradition and modernism, which were an important social discourse of the day, and how it was revealed in the work of art by revolving around the 1950s. The Korean War accompanied changes in the art world as well as the society and this provided a background for the appearances of many events and phenomena, such as the occurrence of defected artists due to the adhesion of the South Korea and North Korea, and the style of art and theory of painting tuned by ideology. Therefore, discussing about the tradition and modernism, which made a rapid progress after the war, is discovering the point where the artists of the day fixed their 자표책정 to act in the history. According to Gadamer, the human cannot escape the tradition and the framework of the tradition. Art is a social product which is based on the society as a social organism is a known fact without mentioning the quotation of Gadmer. Knowing art as a product of the times and society based on tradition and having a serious reflection about how modernism, on an extreme opposite side of tradition, can be understood in the category of the modern history of Korea is a way to see Korea modern and contemporary art in history in the right perspective.

STL 정렬 함수와 퀵 정렬 함수의 수행시간 비교

조은정(Eunjung Cho),강석철(Seokchul Kang),심정섭(Jeong Seop Sim) 한국정보과학회 2022 한국정보과학회 학술발표논문집 Vol.2022 No.12

한국근현대조각 연구사

조은정(Cho Eunjung) 한국근현대미술사학회 2012 한국근현대미술사학 Vol.24 No.-

Sculpture also became the target of criticism as a part of art in 1920s, when Kim, Bok-jin had returned to Korea from Japan after majoring in sculpture. Mentioning the artist and the existence of criticism became the hub of the study, unlike the prior positions of the masons or craftsmen in palaces, or the buddhistic artists who served the Buddhist rituals. The fact that rapidity on the progress of research could only arise when there are studies on coeval works or artists, was confirmed by the relations of the traditional engraver and Kim, Bok-jin, the sculptor. The fact that there are unknown artists in many artworks, such as mason and Buddha statues, demonstrates the differences of the modern period sculptors from calligraphic painters. Unlike painting, sculpture occupies the space and therefore it exposes the social character. The social character of sculpture has taken place as a tool of spotting the political and economical phenomena of the society, which engraver’s studies has been created as not only the artist’s, work’s argument, or mode but also further to the fundamental data and work about various social conditions. Studies regarding commemorative sculpture or statue are based on the deployment of these characters. However, eventually, the interest on the external conditions of a sculpture had limited the amplification of the researchers’ interest of the internal mode or the artist. In terms of describing Korean modern and contemporary sculpture history, the absence of arguments between researchers about the works’ style or tendency, or the expansion of discussions, explains these circumstances. The studies of Korean modern and contemporary sculpture history are not only small in quantity, but also still lack the discovery of fundamental data and the research on the artist’s lifetime and on the work itself. In this respect, sculpture has a lot of opportunity in allowing the creation of raisonne once the sculpture work is identified, unlike having the difficulties of reverting to the painting artists that were actively engaged in dealings. Also, inversely, this respect allows the possibility of studying Korean modern and contemporary sculpture history with precise data. The object of studies in Korean modern and contemporary sculpture history depends on continuous production and discovery. The various exhibitions and the writings that are published there are mostly professional theses. Nevertheless, as this study had only considered published writings, catalogs and statements, and master’s theses have been ruled out from consideration. In order to supplement the study later, the results of the major studies will be reflected in the Korean modern and contemporary sculpture history statement.

이승만 동상 연구

조은정(Cho Eunjung) 한국근현대미술사학회 2005 한국근현대미술사학 Vol.14 No.-

야관문 잎 페놀 추출물의 항산화능 및 미백 효과

조은정(EunJung Cho),주현미(Hyun-Mi Ju),정창호(Chang Ho Jeong),엄석현(Seok Hyun Eom),허호진(Ho Jin Heo),김대옥(Dae-Ok Kim) 한국원예학회 2011 원예과학기술지 Vol.29 No.4

야관문은 당뇨병, 설사, 여러 염증성 질병의 치료에 널리 이용되어진 약초로서 아시아 지역에서 흔히 자라는 식물이다. 야관문의 총페놀 함량, 총플라보노이드 함량, 항산화능과 tyrosinase 활성 저해능 평가를 통한 미백효능을 연구하고자 80%(v/v) 수용성 메탄올을 이용한 페놀 추출물과 이 추출물로부터 극성이 서로 다른 5개 분획층(n-hexane, chloroform, ethyl acetate, n-butanol, 물)의 기능성을 평가하고자 총페놀 함량과 총플라보노이드 함량을 측정하였고, 아울러 항산화능을 ABTS와 DPPH radical 소거능을 이용하여 정량 평가하였다. 건조 야관문 잎 1g의 추출물은 총페놀 함량이 199.4㎎ GAE, 총플라보노이드 함량이 60.4㎎ CE, 항산화능은 416.6㎎ VCE(ABTS 분석)와 366.8㎎ VCE(DPPH 분석)을 보였다. 극성이 서로 다른 5개의 분획층에서 ethyl acetate 분획층이 총페놀 함량(240.8㎎ GAE), 총플라보노이드 함량(90.4㎎ CE), 그리고 항산화능(523.4㎎ VCE(ABTS 분석), 329.5㎎ VCE(DPPH 분석))에서 유의적으로 가장 높은 수준을 가졌다. 멜라닌 생성 초기 단계에서 가역적 산화반응에 관여하는 tyrosinase 활성 억제능을 평가하는 미백 실험에서는 야관문 페놀 추출물과 chloroform 분획층이 tyrosinase를 효과적으로 억제하였다. 본 연구는 야관문에 생리활성을 부여하는 페놀성 화합물의 항산화능 및 미백효과에 관한 기본적인 정보를 제공함과 아울러 기능성 소재로서 활용 가능성을 제시하였다는데 큰 의미가 있겠다. Lespedeza cuneata G. Don is a plant commonly grown in Asian countries, which has been widely used as an oriental medicinal herb to treat diabetes, diarrhea and various other inflammatory diseases. The phenolics of dry leaves of L. cuneata G. Don were extracted by using 80% (v/v) aqueous methanol in assistance with homogenization and sonification. The phenolic extract and its five different fractions (n-hexane, chloroform, ethyl acetate, n-butanol, and water) were used to evaluate the levels of total phenolics, total flavonoids, and antioxidant capacity as well as the inhibitory effect of tyrosinase activity. Ethyl acetate fraction (1 g) had the highest levels of total phenolics at 240.8 ㎎ gallic acid equivalents (GAE), total flavonoids as 90.4 ㎎ catechin equivalents (CE) as well as antioxidant capacity at 523.4 ㎎ vitamin C equivalents (VCE) on ABTS assay and 329.5 ㎎ VCE on DPPH assay among fractions. One g of water fraction contained total phenolics at 133.1 ㎎ GAE, total flavonoids at 34.5 ㎎ CE, and antioxidant capacity at 333.4 ㎎ VCE for ABTS assay and 313.2 ㎎ VCE for DPPH assay. Inhibition of tyrosinase activity of water fraction at 300 ㎍?mL<SUP>-1</SUP> was at 47.2% and 21.1% for L-tyrosine and L-DOPA as its substrate, respectively. On the other hand, ethyl acetate fraction at 300 ㎍?mL<SUP>-1</SUP> showed tyrosinase inhibition of 10.2% for L-tyrosine and 11.9% for L-DOPA. These results suggested that the phenolics from dry leaves of L. cuneata G. Don may be utilized as a potent source of antioxidants and skin whitening agents.

류인 입상 연구 : 표현에 대한 심리적 접근

조은정(Cho, Eunjung) 인물미술사학회 2019 인물미술사학 Vol.- No.14·15

류인 작품의 수는 한정되어 있기에 과다한 이미지의 접촉은 결코 그의 작품을 인상깊게 하는 이유는 아니다. 그의 작품을 ‘대면’하였던 사람들에게 깊은 인상을 남기는 것은 모든 좋은 예술작품의 특징이기도 하겠지만, 그의 작품이 심리적 자장에 위치하기 때문일 것이다. 그의 작품에는 인간의 억압된 감정 또 그와는 상반된 폭발적인 감정의 양가성이 혼재해 있다. 비장하면서 유머가 있고, 유쾌하면서도 슬프고, 크지만 왜소하고, 작지만 한없이 커보이는 그의 작품은 인간 마음 속 깊이에 도사린 영웅성과 비겁함, 자신감과 좌절감과 같은 어느 한쪽의 성향이라 인정하기에는 미흡한, 그래서 상처가 되어버린 인간 본연의 성정과 마주하게 하는 힘이 있다. 손이나 상체 혹은 두 다리와 같이 신체 전체가 아닌 특정 부위가 주는 비장함은 고대 조각의 파편화된 신체성이 주는 고귀함이나 영웅성과 연관되어 있다. 또한 작가의 의지에 의해 임의로 잘리고 구성된 것들이다. 이는 린다 노클린이 지적한 것처럼 근대 작가들이 회화적 기표로 사용한 것과 다를 바 없이 자신의 창작적 기표로서 자르고 조합한 것이다. 이러한 절단의 방식에 더하여 고대조각이 담지 않은 근육을 통해 긴장과 이완의 폭발적 상황인 바로크적인 감각, 파토스적인 면모를 정교하게 구현했기 때문에 류인의 작품은 선제로서 강렬한 인상을 준다. 모든 신경을 모아 집중한 정신의 힘은 신체의 피부 안에서 팽팽히 긴장감을 외부로 표출한다. 류인이 보여주는 인체는 흔히 왜곡과 과장이 이르는, 신화적 세계관이 아니라 일상의 삶, 정치적 현실의 현대사와 같은 현상을 반추하게 한다. 그러한 사회에 대한 인식의 환기작용은 그의 인체가 리얼리티를 갖고 있기에 가능한 것이다. 류인의 인체는 뿌리와 가지가 없이 결합될 수 있는 것처럼 열려 있는 구조이다. 그것은 상실이나 파편이 아닌 열려 있는 몸이다. 얼굴이 없는 인체나 가슴이 없는 인체는 없는 것이 아니라 열려 있는 몸으로서의 인체이다. 류인의 조각이 실존의 상징이 될 수 있는 것은 이러한 열려 있는 구조 덕이다. 콜로서스가 두 다리를 벌려 도시에 들어오는 이들을 맞은 것처럼, 류인 조각의 벌려선 굳건한 두 다리는 강한 힘의 상징이다. 그 힘은 당당함으로 묘사할 수도 있는데, 당당하지만 왜소한 신체의 조각은 역으로 ‘당당하고자’ 하는 욕망의 표현이다. 신체가 사고에서 배제된 인간은 없으며 몸을 접촉하지 않고 외부세계와 합치 될 수 있는 인간은 없기 때문에 그의 작품으로서의 신체에는 자기 자신의 신체를 투사하였으므로 그의 사고가 표상되어 있다고 할 것이다. ‘인간에게 유일한 실재란 신체화한 실재’인 때문이다. The number of Ryu’s works is limited, so excessive contact with images is not the reason that make his work impressive. Leaving good impression on those who ’face’ his work may also be the hallmark of all good works of art, but it may be because his work is located in psychological lullabies. His work is a mixture of human pent-up emotions and opposite explosive emotions. His work, which is heroic, humorous, pleasant, sad, but small, but seemingly boundless, has the power to confront the nature of human nature that has been hurtful, not enough to be admitted as a propensity for either side. As we have seen earlier, The spleen given by certain parts of the body, such as the hand, upper body or both legs, is associated with the nobility or heroism of the fragmented body of0 ancient sculpturer. They are also arbitrarily cut and constructed by the will of the author. This, as Linda Noklne pointed out, was cut and combined as her own creative marker, and not different from what modern writers used as a pictorial symbol. In addition to this method of cutting, Ryu’s work impresses the body as it elaborates on the explosive state of tension and relaxation, since it has baroque sense and patos. The power of the mind, which has gathered all the nerves and concentrated, exposes tension within the body’s skin. The human body that Ryu shows of ten leads to distor tion and exaggeration, refuting phenomena such as everyday life and modern history of political reality, not mythical worldviews. Such an awakening of society is possible because his body has a reality. Ryu’s body is an open structure, as if it could be joined without roots and branches. It is an open body, not a loss or fragment. A human being without a face or a chest is not a human being, but an open body. Thanks to this open structure that Ryu’s sculpture can become a symbol of existence. Just as Colossus was greeted by people entering the city with two legs apart, the two strong legs of Ryu’s sculpture are symbols of strength. The power can also be described as imposing, a confident but modest piece of body an expression of desire to be “confident” in reverse. Since no human body has been excluded from the accident and no human body can fit into the outside world without contact with the body, his own body as a work is projected on his body, so his thoughts are reflected. This is because “the only real thing in human being is the physical reality.”