• Title/Summary/Keyword: 독립제작사

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A Study of Physiological Changes by The Types of Paralysis Model in Activity Daily of Living (마비모델 유형별 일상생활활동 수행 시 생리적 변화 연구)

  • Sim, Kyoung-Bo;Kim, Dong-Hyun;Kim, Hee-Jung;Moon, Jung-In;Kim, Hyoung-Min
    • The Journal of Korean society of community based occupational therapy
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    • v.1 no.2
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    • pp.21-30
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    • 2011
  • The previous studies were prevalent a study of treatment like a environmental modification or compensative approach and intervention which used in today to paralyzed patients. These interventions were related with occupational therapy widely. The purpose of this study is to provide a basic datum for environmental modification, compensative approach, and intervention observing physiological changes which is shown in early paralyze patients. The subjects were 40 students who were 20 female and 20 male in a college. The students were devided into hemiplegic and paraplegic model. The model was designed using a experimental cloths. A instrument to measure body composition was a precision instrument. The results of the study were as follow: First, there was no different homogeneity between activity daily of living of hemiplegic and paraplegic model. Second, there was a significant different body water and basal metabolic rate between before and after activity daily of living of hemiplegic model. Third, there was a significant different body water and basal metabolic rate between before and after activity daily of living of paraplegic model. Forth, there were no significant different physiological change between after activity daily of living of hemiplegic model and paraplegic model. We observed early changes of body composition using a hemiplegic and paraplegic model. We could know it was reduced body water rate and basal metabolic rate in regardless of type of paralysis. Therefore, it is important to know these physiological changes of paralyzed patients and improve body water and basal metabolic rate of the patients.

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ITS2 DNA Sequence Analysis for Eight Species of Delphacid Planthoppers and a Loop-mediated Isothermal Amplification Method for the Brown Planthopper-specific Detection (멸구과 8종의 ITS2 DNA 염기서열 비교 분석과 고리매개등온증폭법(LAMP)을 이용한 벼멸구 특이 진단법)

  • Seo, Bo Yoon;Park, Chang Gyu;Koh, Young-Ho;Jung, Jin Kyo;Cho, Jumrae;Kang, Chanyeong
    • Korean journal of applied entomology
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    • v.56 no.4
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    • pp.377-385
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    • 2017
  • Estimates of evolutionary sequence divergence and inference of a phylogenetic tree for eight delphacid planthopper species were based on the full-length nucleotide sequence of the internal transcribed spacer 2 (ITS2) region. Size of the ITS2 DNA sequence varied from 550 bp in Sogatella furcifera to 699 bp in Nilaparvata muiri. Nucleotide sequence distance ($d{\pm}S.E.$) was lowest between N. muiri and N. bakeri ($0.001{\pm}0.001$), and highest between Ecdelphax cervina and Stenocranus matsumurai ($0.579{\pm}0.021$). Sequence distance between N. lugens and other planthoppers ranged from $0.056{\pm}0.008$ (N. muiri) to $0.548{\pm}0.021$ (S. matsumurai). In the neighbor-joining phylogenetic tree, all planthoppers were clustered separately into a species group, except N. muiri and N. bakeri. The ITS2 nucleotide sequence of N. lugens was used to design four loop-mediated isothermal amplification (LAMP) primer sets (BPH-38, BPH-38-1, BPH-207, and BPH-92) for N. lugens species-specific detection. After the LAMP reaction of three rice planthoppers, N. lugens, S. furcifera, and Laodelphax striatellus, with the four LAMP primer sets for 60 min at $65^{\circ}C$, LAMP products were observed in the genomic DNA of N. lugens only. In the BPH-92 LAMP primer set, the fluorescence relative to that of the negative control differed according to the amount of DNA (0.1 ng, 10 ng, and 100 ng) and incubation duration (20 min, 30 min, 40 min, and 60 min). At $65^{\circ}C$ incubation, the difference was clearly observed after 40 min with 10 ng and100 ng, but with a 60-min incubation period, the minimum DNA needed was 0.1 ng. However, there was little difference in fluorescence among all DNA amounts tested with 20 or 30 min incubations.

A Study On The Identity Of Yeonsegeuk(Kino-Drama) (연쇄극의 정체성 논의 - 총체예술론적 관점에서 -)

  • Kim, Sunam
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.5-30
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    • 2012
  • I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.