셀레나이트로 유도되는 백내장에서 선삼 성분에 따른 백내장 억제효과의 비교 분석

이상목,정문선,정진호,김미금,위원량,박정일,이진학,Sang Mok Lee,MD,Jung Moon Sun,MD,Jin Ho Jeong,MD,Mee Kum Kim,MD,Won Ryang Wee,MD,Jeong Hill Park,PhD,Jin Hak Lee,MD 대한안과학회 2010 대한안과학회지 Vol.51 No.5

Purpose: To compare the protective effects of saponin and non-saponin Sun-ginseng extract fractions in a selenite-induced rat cataract model. Methods: A total of 101 Sprague-Dawley rat pups were divided into four groups by treatment: Sun-ginseng, saponin fraction, non-saponin fraction, and control. For induction of cataracts, sodium selenite 15 nmol/g was injected subcutaneously in 13 day-old rat pups. Sun-ginseng extract 100 μg/g (Group I, Ginseng Science, Seoul, Korea), saponin fraction 100 μg/g (Group II), non-saponin fraction 100 μg/g (Group III), and phosphate buffered saline (Control group) were injected intraperitoneally every two days for a total of seven injections. The rats were sacrified and their lenses were dissected and photographed at day 7 and 14, and the cataracts were graded according to the ratio of the cataract area to the total lens area. The blind method was used for the evaluation of the cataract area. Results: At day 14, cataract formation rates (CFR) were 33.3% in group I, 76.4% in group II, 41.2% in group III, and 77.7% in the control group. The mean cataract area (MCA) was 13.4±20.8% in group I, 14.4±11.7% in group II, 5.7±7.7% in group III, and 15.8±12.1% in the control group. Group III showed statistically significant results compared with those of control group (CFR p=0.001, MCA p=0.001). We observed significantly lower incidence and smaller mean cataract area in Group I and Group III at day 7 compared with the control group (Group I, CFR p=0.018; Group III, CFR p=0.032, MCA p=0.005). Conclusions: The protective effects of Sun-ginseng extract are caused by the components in the non-saponin fraction, not by those in the saponin fraction, in a selenite-induced cataract rat model. J Korean Ophthalmol Soc 2010;51(5):733-739

임학선 호흡표기법 실용화 방안

박지선 ( Park¸ Jee-seon ),임학선 ( Lim¸ Hak-sun ) 한국무용연구학회 2021 한국무용연구 Vol.39 No.1

본 연구는 ‘임학선 호흡표기법’의 실용화 방안으로, 호흡표기법의 창안자와 공동연구를 통해 ‘호흡 움직임 분석틀’을 제시하여 춤현장의 실증적 연구방법을 세우고자 했다. 임학선 호흡표기법은 태극의 움직임을 형상한 ‘점ㆍ선ㆍ원’의 구조적 원리에 따라 내적 흐름을 중시하는 한국춤에 특성화된 무용기록법이다. 이 표기법은 들숨ㆍ날숨ㆍ멈춤의 기호학적 호흡표기로 호흡의 장단ㆍ대소ㆍ강약을 구분하여 무용의 3요소인 시간ㆍ공간ㆍ힘을 분석할 수 있었다. 또한 호흡표기로 리듬의 변화에 따른 호흡 패턴을 분석하여 움직임에 대한 이해도를 높여, 춤동작 재현에 정확성을 기할 수 있다는 것을 확인했다. ‘호흡 움직임 분석틀’은 임학선 호흡표기법을 실용화한 구조적 체계로 호흡과 움직임을 동시에 기록하여 움직임 구조와 원리를 규명하는데 용이했다. 이 분석틀은 한국춤의 내적ㆍ외적 구조분석을 통해 움직임 기능과 예술적 표현을 향상시키고, 춤의 철학적 접근과 미학적 분석을 통해 한국춤의 역사와 전통의 맥을 이어나갈 수 있는 방법론임을 확인했다. 본 연구가 실제적인 무용예술의 이론적 체계를 세워 춤 현장과 교육, 무용학의 과학적이고 체계적인 발전에 도움이 되기를 바란다. This study is a practical use plan for ‘Lim Hak Sun Breathing Notation’ and aims to establish an empirical research method of dance science by presenting a ‘Respiratory Motion Analysis Framework’ through joint research with the creator of breathing notation. Lim Hak Sun Breathing Notation is a dance record method specialized in Korean dance that emphasizes inner flow according to the structural principles of ’points, lines, and circles‘ that shape the movement of Taegeuk. This notation was able to analyze time, space, and energy, which are three elements of dance, by distinguishing the long&short, large&small, strong&weak of breathing through the semiotic respiration of inhalation, exhalation, and stopping. I also analyzed the rhythm breathing pattern and confirmed that it can be accurate in reproducing dance movements. The ‘Respiratory Motion Analysis Framework’ is a structural system that utilizes Lim Hak-seon's breathing notation. Through internal and external structural analysis of Korean dance, this analysis framework was confirmed to be a methodology to improve movement function and artistic expression, and to continue the history and tradition of Korean dance through philosophical and aesthetic analysis. It is hoped that this study will help the scientific and systematic development of dance studies by establishing a theoretical system of practical dance art.

태양돛 기술 동향

조형순(Hyeong-Sun Cho),김학인(Hak-In Kim),이수용(Soo-Yong Lee),노진호(Jin-Ho Roh) 한국항공우주학회 2014 韓國航空宇宙學會誌 Vol.42 No.6

태양돛은 태양 광자들의 운동량 변화를 이용하여 추력을 얻는 우주선이다. 매우 작지만 연속적인 가속도를 얻을 수 있어 태양돛은 다양한 임무를 수행할 수 있다. 효과적인 임무 개발을 위해서는 태양돛의 형상, 돛의 재료 그리고 전개 장치에 따른 구조/재료적 특성뿐만 아니라 위성의 임무 궤적에 따른 자세제어 방법들을 고려해야 한다. 본 논문에서는 태양돛의 기술발전, 태양돛 제작에 필요한 소요기술 그리고 태양돛을 이용한 향후 개발 가능한 위성 임무에 대하여 살펴보고자 한다. Solar sail spacecrafts can gain propulsion using the momentum change through reflecting the photon packets of energy from the Sun. The sail slowly but continuously accelerates to accomplish a wide-range of potential missions. To develop the potential mission of the solar sail, the configuration, the film characteristics and the deployment devices should be carefully considered. In this paper, recent development and activities of the solar sail are introduced and design technology of the sail subsystem is investigated.

現代 韓國畵 展開過程에서의 性向 考察 : Focused on the Korean abstract paintings after 1960's 1960년대 以後 韓國畵 抽象系列 作品을 中心으로

宣學均 관동대학교 1984 關大論文集 Vol.12 No.2

現代 韓國畵 抽象의 展開는 旣存에 대한 새로운 創造精神으로 부터 出發한다. 새로운 創造精神이란 未知에 대한 關心의 發露로서 現代 韓國美術의 한 쟝르(genre)를 成立하는 것과 相關關係를 지닌다. 그 새로움을 向한 探究의 意志는 여러 경향의 表現技法으로의 方向을 提示해 주고 있다. 그러한 變貌의 추세 가운데에서 現代 韓國畵의 抽象表現技法은 水墨, 彩色, 立體系列의 抽象作業을 通해 적극적인 實驗을 通해 새로운 造形美를 보여주고 있다. 이것은 또한 現代 韓國畵의 時代的인 美意識으로서 表現技法, 時代性, 樣式(pattern)을 提示하고 있는데, 本 硏究에서는 現代 韓國畵가 傳統繪畵로 부터 벗어나 새로운 方向摸索을 하고 있는 現代 韓國畵의 抽象表現技法에서의 感覺的인 것, 觸感的인 것, 精神的인 것을 東洋繪畵의 抽象性과 時代性에서 찾아보고자 한다. 또한 現代 韓國畵 抽象에 西洋의 抽象表現主義가 미친 影響과 그러한 影響에서 비롯된 여러傾向의 抽象表現技法과 材質의 實驗을 通한 作品製作過程, 그리고 여러影響의 作品性向을 分析해 보고자 한다. 現代 韓國畵 抽象表現技法을 편의상 平面系列의 抽象에서 水墨위주의 抽象, 彩色위주의 抽象에 대해 그 造形理念 및 製作技法에 대해 硏究 分析해 보고 立體系列의 抽象에서는 空間槪念 設定, 材質感의 導入, 作家의 精神的인 內面世界에 대해 洞察해 보고자 한다. 따라서 現代 韓國畵 抽象 表現技法을 1960年代에서 1970年代末가지에 展開過程을 團體別, 個人別로 作品傾向 및 그 性向을 알아보고 未來의 韓國畵의 造形理念 設定 및 方向을 摸索하고자 함이며, 또한 한 時代를 사는 作家들에 의한 開拓精神과 造形實驗에 可能性을 提示하고자 한다. The development of the modern Korean paintings originted in a creative spirits on the past establishments. The new creative spirits have an interaction between the realizations in the modern Korean paintings as an interest in the unknown. The will of pursueing for the new shows the Various trends of representative technique. Among the tendency of the change, modern Korean abstract representative techniques show the new beauty of plastic art through the abstract work and positive experimentation. Also, these represent the expressive techniques, the spirit of the times, patterns as asense of beauty in the modern Korean painting, however, this study aimed at seeking for the sensative, the tactile and the spiritual techniques of the modern Korean abstract paintings which are trying to divert from its traditional paintings at the abstractness and the spirit of the times. The influence on the modern Korean abstract from the western abstract expressionism, the various trends of the abstract representative techniques and work process through the experiment of mterical originating from the influence, and the some analyses on various dispositions of work were, also, the topic of the study. The study was concerned with the analyses of the idea o plasticity and the working techniques on the abstract like a pale Indian ink and a coloring in 2-dimensional situation as well as with the analyses of the establishment of spatial concept, the introduction of material characteristics, and the painter's introspective spiritual world. The study was on comprehensive survey on the moder abstract technique of evolution in trends on works from 1960's to 1970's, The main characteristics of work by groups or individuals, and the future goals of Korean paintings, and the exploration of possibilities in the active spirits by the painters today.

호흡표기법을 이용한 한국춤 구조분석 : <태극구조의 기본춤> 중 “숨고르기”를 중심으로

임학선 한국무용연구회 2002 한국무용연구 Vol.20 No.-

The structural analysis of dance is a basic field of study. This paper is a study on Dance Notation. In this study, a mark rule is named as "Line Notation" rule which is graphical mark using points, lines and circles. This rule is based on the principle of Taegeuksun structure which is basic frame of Korea dance. Korea dance is characterized by repetition structure which is composed of ‘point-line-circle’ and finally returns to one point (point-line-circle-point). Breath rule of Korea dance is also based on this repetition structure, and so represented by ‘inhaling-exhaling-stop breathing' connected by point-line-circle. Rule of breath mark can represent technical breath of creative dance as well as korean traditional dance. This mark can be used easily for the simplicity feature. It is expected that this mark can help many studies examining closely the substance of dance because of more scientifically understandable feature about the dance structure and its internal stream.

Oriental계 백합의 종구생산에 있어 재배지역 및 정식기가 생육 및 구근비대에 미치는 영향

김학기,이상철,선선영,전승희 강릉대학교 동해안지역연구소 2000 東海岸硏究 Vol.11 No.1

This study was conducted to investigate effects of cultivation area and planting time on bulb growth and enlargement of Lilium oriental hybrids in seed buld production. Planting time was divided into three periods such as May 15, 30, June 15 and Cultivation areas were alpine Daegwallyong and low land Kangnung area. The results were as follows: 1.The temperature of Daegwallyong from June to September was around 16-18℃ which was the optimum temperature for growth of Lilium oriental hybrids compared with above 20℃ of Kangnung area. 2.The bulb emergence rate in Kangnung area was 1-3 days faster than Daegwallyong. As the planting time was delayed, the bulb emergence rate was faster. 3.There was no significant difference in plant height between cultivation area and cultivars, but as the planting time was delayed, the plant height in Kangnung was much longer than Daegwallyong. 4.The chlorophyll content was high in the early planting time and that in Daegwallyong was higher than Kangnung. 5.The fresh and dry weight of leave was increased in Daegwallyong cultivation, compared with Kangnung. 6.The growth of underground parts such as numbers and length of basic roots and root system of stem roots in Daegwallyong was much better than Kangnung. 7.Virus infection rate in Daegwallyong was lower than Kangnung, but in the phytophthora blight and leaf blight vice versa. 8.The faster the planting time was, the higher the bulb weight was. And the bulb weight in Daegwallyong was 93% higher than Kangnung.

갈륨비소 MESFET 고이득 연산증폭기 설계에 관한 연구

金學善 한밭대학교 산업과학기술연구소 1994 논문집 Vol.2 No.-

In this paper, we described a monolithic operational amplifier designed using depletion mode GaAs MESFET's. This amplifier is the first general purpose monolithic GaAs operational amplifier designed as a stand alone component reported in the literatures. The amplifier has a differential input, an open-loop gain in excess of 80〔dB〕, and is internally compensated. The high open-loop gain is achieved by using gain stages with a newly designed bootstrapped amplifier. The operational amplifier incorporates a diode level-shifting stage which allows the operational amplifier to operate over a wide power supply range. For the simulation, device parameters which is very well fitted with previous reported circuits are extracted from analytical modeling and data sheet extracting method. PSPICE simulation results show that an open loop gain, a cut-off frequency, a common mode rejection ratio, a settling time, a power consumption, a phase margin of the newly designed operational amplifier are 80.06〔dB〕, 1.5〔GHz〕, 93〔dB〕, 3.9〔μs〕, 87〔mW〕and 56〔degree〕, respectively. These results predict that the newly designed operational amplifier is a true analog to its silicon counterparts, but the operational amplifier has a high gain-bandwidth product.

사료를 통해 본 송대 이후의 문묘일무

임학선 한국무용연구회 2009 한국무용연구 Vol.27 No.1

문묘일무는 유교의 예악사상이 담긴 춤으로 스승을 공경의 마음으로 섬기는 특별한 의미를 지니는 춤이다. 문묘석전에서 추게 되는 이 춤은 고대 중국에서 유래된 춤으로 고려 예종 11년(1116)에 우리나라에 유입된 이래 고려와 조선의 성균관을 거쳐 오늘에 이른다. 본 연구에서는 사료 분석을 통해 (1)고려와 조선시대의 문묘일무와 송나라시대의 문묘일무의 관계성 (2)조선시대에 행해진 문묘일무의 실제모습 (3)삼진삼퇴의 일무가 제자리에서 추는 일무로 바뀌게 된 이유를 살펴보았다. 그 결과 다음과 같은 결론을 얻을 수 있었다. 첫째, 조선시대의 문묘일무는 송나라시대의 것과 동일계열이다. 둘째, 조선시대에는 일무를 당상과 당하 사이 뜰에서 춤추었다. 셋째, 일무는 일무의 위치에 무표를 세우고 이를 따라 삼진삼퇴를 춤추는 것이 전통이다. 넷째, 제자리에서 추는 일무는 예의에 어긋나는 것으로 명나라에서 비롯된 것이다. 다섯째, 공경·사양·겸양의 철학적 의미를 지니는 춤사위는 송대 이후 변함없이 일관되게 지켜졌다. 여섯째, 천지인합일을 의미하는 춤사위는 십자형(+)을 이루는 것이 원래의 모습이다. 엑스자(X)형과 십일자(11)형의 춤사위는 청나라에서 만든 춤사위이다. Munmyo Ilmu is a dancing performance with a special meaning for devotions to teachers with respectful minds as a dance containing Confucian decorums and music. This dance performed at Munmyo Seokjeon was originated from ancient China, and has been handed down to today via the era of Goryeo and Sunggyungwan of Chosun since its introduction to our country in the 11th year of King Yejong in Goryeo. This study examined through analyses on historical data; (1) Relationships of Munmyo Ilmu of Goryeo and Chosun with Munmyo Ilmu of Song Dynasty; (2) Actual appearance of Munmyo Ilmu performed during Chosun, and (3) Reasons of change on Ilmu performance into performance at one location from performance with three forward steps and three backward steps. As a result, the following conclusions could be reached. First, Munmyo Ilmu of Chosun was the same line of Song Dynasty. Second, Ilmu was performed in a yard between Dangsang and Dangha in Chosun. Third, Ilmu is traditionally performed with three forward steps and three backward steps according to Mupyo which is established at the location of Ilmu. Fourth, Ilmu performed at one location is thought to violate decorums, which was originated from Ming Dynasty. Fourth, the dancing performance with philosophical meanings of respect, courteousness and humility has been consistently kept with no change since Song Dynasty. Sixth, the dancing performance meaning the unification of heaven, earth and human should be shown with a shape of a cross (+) in original appearance. The dancing performance in a shape of X or a parallel line (ll) was created in Qing Dynasty.

문묘석전 일무의 위치 연구

임학선 한국무용연구회 2009 한국무용연구 Vol.27 No.2

Ilmu, a Confucius ritual dance, is the dance performed in the Seokjeondaeje of Munmyo. It is originated from the ancient China, and closely related to myths. The myth as an important part in the history of mankind had been transmitted by words, and thanks to the record of myths in scriptures, today we can have some knowledge of the dance style of the ancient times. The dances originated from the age of myths include <Unmum(雲門)> of the Emperor, <Hamji(咸池)>, of the king Yo, <Daeso(大韶)>of the king Sun, <Daeha(大夏)> of the king Woo, <Daeho(大濩)>of the king Tang, and <Daemu(大武)> of the king Mu; these six types of dances are called Yookdaedaemu (六代大舞),and these dances are those performed at the rituals dedicated to Chunjiin (the heaven, earth, and human) in the ancient China. This study is concerned with the location of Ilmu originated from Yookdaedaemu (六代大舞). Determined by the ideology of Chunjiin samje and that of yin yang, the location of Ilmu is the garden of Myojeong between dansang (堂上) and dangha (堂下), representing the idea that human business is in between the heaven and earth(天地). When placing munmu and mumu, the former was placed in the east, while the latter the west, as mun was regarded as superior to mu, as the east was regarded as superior to the west. Being the space where dance is played, the location of Ilmu is intimately associated with the movements of dance. As the movements of dance and its meaning can vary according to the space where dance is played, the location of dancer had been highly regarded since long time ago. It had been recognized that the location of Ilmu and all movements of dancer are contingent on the principle of the movement of cosmos so that special meanings were attached to them. Therefore, a basic study into the prototype of the location of Ilmu from which the history of dance stems is substantially significant and meaningful. 일무는 유교제례무로 문묘 석전대제에서 추는 춤이다. 그 유래는 고대 중국으로부터 비롯되며 신화와 밀접한 관계를 지닌다. 인류의 역사에서 중요한 부분을 차지하는 신화는 구전으로 전해지고 그 구전이 경전의 기록으로 남겨지는 `신화의 경전화`로 인해 오늘날 우리는 그 옛날 신화시대의 춤을 살필 수 있다. 신화시대로부터 비롯되는 춤은 황제의 <운문>, 요임금의 <함지>, 순임금의 <대소>, 우왕의 <대하>, 탕왕의 <대호>, 무왕의 <대무>로 이 여섯 종류의 춤을 육대대무라 부른다. 이 육대대무는 고대 중국에서 천지인에게 제사할 때 각각 추어졌던 춤이다. 본 연구는 육대대무로부터 유래되는 일무의 위치에 관한 연구이다. 일무의 위치는 천지인삼재 사상과 음양 사상에 의해 정해지게 되는데, 그 자리는 당상과 당하 사이 묘정의 뜰로 천지 사이에 인사가 존재함을 의미하는 곳이다. 이 위치에 문무와 무무를 배치하게 된다. 문무와 무무를 배치할 때는 문을 무보다 위로 여기고 동을 서보다 위로 여겨 문무를 동쪽에 배치하고 무무를 서쪽에 각각 배치하는 것이 예로부터 전해지는 전통이다. 일무의 위치는 춤을 추는 공간으로 춤사위와 밀접한 관계를 지닌다. 춤을 추는 공간에 따라 춤사위와 그 의미가 달라질 수 있기 때문에 예로부터 춤추는 위치를 매우 중요시 하였다. 이와 같은 일무의 위치와 춤사위는 모두 우주의 움직임 원리와 이치에 따라 그 자리가 정해지고 몸동작이 만들어진 것으로 특별한 의미가 부여되어 있어 일무 위치의 원형을 찾아서, 그 위치를 바로 하는 것은 매우 의미 있는 일이라 하겠다.

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Preferences on the change of color and aroma of soybean sprout was surveyed. Negative response of 'bad' or 'very bad' on pink (72%), red (60%), and green (44%) coloring was obtained. However, yellow coloring showed about 55% of positive response of 'good' or 'very good'. Thus yellow is the only color which received highly positive response among altered-color soybean sprouts. Significantly different result was observed when various aroma was added to soybean sprout. 80% of peanut scent-added soybean sprout and 76% of melon scent-added soybean sprout received positive response of 'good' or 'very good' while only 20% of the reponse was negative. In conclusion, altering color to yellow and addition of peanut scent or melon scent could increase the general preference of soybean sprout.