• Proceedings of the Korean Society for Food Science of Animal Resources Conference
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• 2006.05a
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• pp.128-132
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• 2006

관절염이 일어나는 정확한 기전은 아직까지 잘 규명되어 있지 않으나 일반적으로 cytokine, chemokine을 비롯한 여러 가지 조절 물질들 사이의 미묘한 균형이 깨어지는 일이 주된 요인으로 추정되고 있다. 사람의 경우 염증이 일어난 관절 조직에서 활막 세포(synovial fibroblast)는 여러 염증성 사이토카인들을 분비하기도 하며 또 한편 이들 cytokine의 target 세포로 이들의 자극에 대하여 정상인의 그것과 다른 증식 및 활성화 반응을 보이는 등, 다양한 측면에서 관절염증의 유발에 기여하는 것으로 보여진다. 따라서 활막세포 활성화 경로를 DNA Microarray chip을 이용하여 세포 및 분자 수준에서 밝혀 이를 차단할 수 있는 자연물질(natural product)를 선별함으로써 항생제나 스테로이드를 사용하지 않고 돼지의 관절염을 효과적으로 치료 또는 예방할 수 있는 방법을 모색하고자 한다. 6.6kg의 암컷 Yorkshire와 수컷 Landrace의 교배잡으로 왼쪽 뒷다리 슬관절에 십자인대를 파열하여 관절염을 유발하고 8주간 성장을 시킨 후 정상 슬관절과 관절염이 유발된 슬관절의 활막세포로부터 total RNA를 추출한 후 affymetrix Gene chip을 제작하여 Geneplex소프트웨어를 이용하여 데이터를 분석하였다. 분석 결과 unknown 유전자 962개를 포함하여 유전자 발현이 증가된 유전자는 총 1,059개 였으며, unknown 유전자 564개를 포함하여 유전자 발현이 증가된 유전자는 총 639개를 얻었다. 이러한 돼지 관절염에서의 활막세포에 의한 유전적 발현 양상으로부터 molecular function, biological process, pathway등을 이용하여 관절염 지표를 작성할 수 있다.분별을 성공적으로 수행하였다.(p<0.05), 맛, 연도, 다즙성 및 전체적인 기호성은 유의한 차이가 없었다.자체를 악하다고 볼 수 없고 더구나 구원을 이 세상에서의 이탈로 볼 수 없다. 진정한 구원이란 원래 하나님이 보시기에 아름다웠던 그 세상으로의 회복을 포함한다. 이런 면에서 하나님 주권 신앙 하에서 구원이란 전 인격적인 구원, 전 우주적인 구원이 된다. 그렇기 때문에 성도는 세상의 삶과 학문, 예술, 정치, 경제, 사회를 포함한 모든 분야를 하나님의 뜻 가운데서 그 원래의 목적에 부합할 수 있도록 회복시키는 일에 적극 참여해야 한다.자체가 이를 주도하기는 사실 어려움이 있다. 그리고 대형유통점이 영업행위를 영업시간제한에서부터 출점제한에 이르기까지 규제하는 건은 심사숙고하여야 한다. 대형유통점이 국가경제 및 지역사회에 미치는 영향이 부정적인가 긍정적인가에 대해 국내외 학계와 업계에서 여전히 많은 논란이 있기 때문이다. 정부와 지자체에 의한 시장개입은 반드시 필요한 경우에 한해 합당한 방법에 의해 이루어져야 한다. 대형유통점에 대한 규제는 지역사회에 미치는 영향을 다면적으로 평가한 결과에 근거하여 이루어져야 할 것이다. 대부분의 지자체는 체계적인 평가시스템과 객관적인 통계 자료를 갖고 있지 못한 실정이다. 향후 가장 시급한 과제는 시장개방 이후 지난 10년간 대형유통점이 지역사회에 미친 영향에 관한 광범위한 통계자료를 수집하고 이를 체계적으로 분석하여 정책방향을 올바르게 설정하는 것이라 할 수 있다.i와 K. pneumoniae가 존재하며 확산 중임을 시사한다. 앞으로 CTX-M형 ESBL의 만연과 변종 CTX-M형 ESBL의 출연을 감시하기 위한 정기적인 연구와 조사가 필요한 것으로 생각한다., A2-1, B1-1, B2-1의 경우, 강우 일수 감소 이전과

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.533-543
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• 2023

This study explores the influence of the COVID-19 pandemic on the Korean art market and contrasts the classic hedonic method of art price prediction with the Artificial Neural Network technique. The empirical analysis of this paper utilizes 14,639 observations of Korean art auction data from 2015 to 2021. There are three types of variables in this study: artist-related, artwork-related, and sales-related. Previous studies have suggested that these three types of variables influence art prices. The empirical findings in this research are in twofold. First, in terms of RMSE and R², the Artificial Neural Network outperforms the hedonic model. Both techniques discover that sales and artwork variables have a greater impact than artist-related attributes. Second, when the primary factors of art price are controlled, Korean art prices are found to fall dramatically in 2020, shortly following the onset of COVID-19, but to rebound in 2021. The main lesson in this study is that the Artificial Neural Network enhances art price prediction and reduces information asymmetry in the Korean art market even in the face of unanticipated turmoil such as the COVID-19 outbreak.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.391-398
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• 2023

This study focuses on the potential for creating spatial and atmospheric effects in small theaters using mobile stage equipment, without being constrained by physical space or theater facilities, for mega musical productions. With the continuous growth of mega musicals in the domestic market, the study analyzes the distribution and sales of musical works in Korea and proposes methods for creating spatial effects in university musical education to facilitate the production of mega musicals in small theaters. The mobile stage equipment is designed based on the principle of the periaktoi, a stage mechanism used in ancient Greek theater and the characteristics of mobile stage equipment used in musicals such as <Notre Dame de Paris> and <Laundry>. The mobile stage equipment is a four-sided column-shaped device, which is applied to the musical <Les Misérables> to derive the potential for creating spatial effects, representing the inner state of characters, and forming the mood of the drama. The study is expected to provide opportunities for performing mega musical productions in university musical education and to contribute to the development of the musical industry and education. The utilization of mobile stage equipment demonstrates the possibility of producing mega musical productions in small theaters.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.181-187
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• 2019

The theme of "youth love film" is a strong point in the Korean film industry and has made remarkable achievements in the overseas market. Jae-young Kwak is a famous Korean film director and screenwriter. He is good at shooting "youth love film" with beautiful pictures, exquisite emotions and rich imagination. His films have unique charm and characteristics. This paper expounds the image style, characterization and theme. First of all, from the perspective of image style for this paper, analysis of the film is how to use different narratives and lens language to create a movie's atmosphere, makes the transfer of drunk the oriental beauty. Secondly, the main focus is on the director to find a new way to shape the characters in the film, and pay attention to the description of details, foreshadowing and explaining the plot. Thirdly, based on the theme, this paper analyzes the profound meaning behind romantic films, which reflect the yearning and pursuit of modern people, and people should pay attention to and think deeply. In the modern economic globalization, countries culture mutual exchanges and cooperation, South Korea many outstanding movie worth exploring and research, by studying the Jae-young director Kwak youth love films, excavate its popular film in the market of reason, analysis of the works reflect the aesthetic characteristics, which sums up the experience of the youth love film.

• The Journal of Art Theory & Practice
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• no.6
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• pp.51-76
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• 2008

Nous obserbons dans le champs de l'art aujourd' hui, le changement radical provoquant $\'{e}$tant donn$\'{e}$ que le pouvoir du march$\'{e}$ de l'art s'augmente de plus en plus. C'est pour cela que le champ du discours de l'art n'est actuellement plus form$\'{e}$ par des notions esth$\`{e}$tiques artistiques, mais par celles qui sont r$\'{e}$serv$\'{e}$es au domaine de l'$\'{e}$conomie et du march$\'{e}$. Il n'est plus significatif de croire la valeur esth$\`{e}$tique de l'oeuvre d'art, puisque l'esth$\`{e}$tique elle-m$\^{e}$me ne fonctionne plus. Par contre, le syst$\`{e}$me de donner le prix $\`{a}$ l'oeuvre d'art fonctionne rigoureusement. En plus, cette situation s'aggrave $\'{e}$tant donn$\'{e}$ que la mondialisation du march$\'{e}$ de l'art s'installe avec rapidit$\'{e}$. Malgr$\'{e}$ la mondialisation de l'art, des gens qui habitent par exemple $\`{a}$ S$\'{e}$oul ne peuvent pas s' approcher facilement de ce qui se passe $\`{a}$ New York, le vrai centre de l'art contemporain. Dans cette situation, le champ de discours de l'art n'a pas d'autre solution de se r$\'{e}$tr$\'{e}$cir remaquablement et le sujet de discussion sur le grand art est remplac$\'{e}$ par celui du success de l'art. Cette recherche est arriv$\'{e}$e $\`{a}$ remarquer que le syst$\`{e}$me du foire internationale de l'art fonctionne comme une locomotive dans le march$\'{e}$ de l'art qui est le vrai dominateur de l'art contemporain. Aujourd'hui les grands clients du monde de l'art et les jeunes sp$\'{e}$ctateurs, les clients de l'avenir s'assemblent autour de quelques foires internationales r$\'{e}$put$\'{e}$s qui ont de l'autorit$\'{e}$. C'est ainsi que l'achat et la vante de l'oeuvres d'art est suffisamment mondialis$\'{e}$ et que le syst$\`{e}$me local du march$\'{e}$ est d$\'{e}$rang$\'{e}$ et s'$\'{e}$ffondr$\'{e}$gravement. Malgr$\'{e}$ la diff$\'{e}$rence significative, la majorit$\'{e}$ des galeries d'art lacaux s'oblige de suivre $\`{a}$ la suite du style du foire internationale de l'art. C'est la raison pour laquelle que cette recherche se fait une id$\'{e}$e nette que la prosp$\'{e}$rit$\'{e}$ actuelle du march$\'{e}$ de l'art n'est que la situation $\'{e}$conomique ou financi$\`{e}$re. A ce stade de la r$\'{e}$flexion, cette recherche arrivera $\`{a}$ poser une question primordiale ci-dessous: "Si l'art qu'on $\`{a}$ l'intention de proclamer ne serai plus possible de faire r$\'{e}$fl$\'{e}$chir sur la libert$\'{e}$ et la solidarit$\'{e}$ humain, la dignit$\'{e}$ de l'homme, cet art n'est plus autre chose que l'insignifiance. Au lieu de parcourir divers ph$\'{e}$nom$\`{e}$ne du march$\'{e}$ de l'art aujourd'hui, cette recherche fixera son attention sur la r$\'{e}$alit$\'{e}$ du foire internationales de l'art. Dans ce context, cette recherche sera compos$\'{e}$e par trois chapitres donc le premi$\`{e}$re essayera de r$\'{e}$pondre $\'{a}$ la question de son influence extraodinairement puissante. Le deuxi$\`{e}$me chapitre essayera d'analiser la r$\'{e}$alit$\'{e}$ et la source du pouvoir du foire internationale de l'art. Nous essayeront au troisi$\`{e}$me chapitre de configurer le point de vue critique qui permettra de bien comprendre notre sujet.

• Korea Science and Art Forum
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• v.23
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• pp.111-122
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• 2016

The purpose of this multi-disciplinary convergent study is to establish Image Copyright Archive Model for Museums to protect image copyright and vitalize the use of images out of necessity of research and development on copyright services over the life cycle of art contents created by the museums and out of the necessity to vitalize distribution market of image copyright contents in creative industry and to formulate management system of copyright services. This study made various suggestions for enhancement of transparency and efficiency of art contents ecosystem through vitalization of use and recycling of image copyright materials by proposing standard system for calculation, distribution, settlement and monitoring of copyright royalty of 1,000 domestic museums, galleries and exhibit halls. First, this study proposed contents and structure design of image copyright archive model and, by proposing art contents distribution service platform for prototype simulation, execution simulation and model operation simulation, established art contents copyright royalty process model. As billing system and technological development for image contents are still in incipient stage, this study used the existing contents billing framework as basic model for the development of billing technology for distribution of museum collections and artworks and automatic division and calculation engine for copyright royalty. Ultimately, study suggested image copyright archive model which can be used by artists, curators and distributors. In business strategy, study suggested niche market penetration of museum image copyright archive model. In sales expansion strategy, study established a business model in which effective process of image transaction can be conducted in the form of B2B, B2G, B2C and C2B through flexible connection of museum archive system and controllable management of image copyright materials can be possible. This study is expected to minimize disputes between copyright holder of artwork images and their owners and enhance manageability of copyrighted artworks through prevention of such disputes and provision of information on distribution and utilization of art contents (of collections and new creations) owned by the museums. In addition, by providing a guideline for archives of collections of museums and new creations, this study is expected to increase registration of image copyright and to make various convergent businesses possible such as billing, division and settlement of copyright royalty for image copyright distribution service.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• Review of Culture and Economy
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• v.21 no.2
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• pp.141-173
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• 2018

In this article, we explore how artistic fame is formed by analyzing antecedents of fame the extent to which the name of an actor or his/her work is positively known by his/her audiences among Korean handicraft artists. Drawing on prior literature on reputation and fame, we clarify the differences between the concept of reputation and the concept of fame and further distinguish three types of reputation among individual artists, depending on its sources expert reputation, market reputation, and peer reputation. We employ the mixed method in this study, in which we first conducted open-end interviews with three kinds of constituents (i.e., critics, market intermediaries, and artists) and then developed and tested the hypotheses derived from the insights we had obtained from the interviews. We further considered the impact of reputational work, defined as the level of effort devoted and activities performed by an artist him(her)self geared toward promoting his(her) work, on artistic fame. We find that there are large differences in factors associated with artistic fame between non elite and elite Korean handicraft artist groups, where elite status is captured by artists' educational background (i.e., Seoul National University and Hongik University, which are considered elite schools in accordance with prior research). Specifically, findings suggest that among non elite status artists, recognition by experts, or what we call expert reputation, acquired through national awards and invitations from prominent exhibitions as well as artists' own reputational work that incurs high cost, such as self-financed exhibition openings, were shown to be highly significant factors associated with artistic fame, which was measured as the number of media exposures related to her/his art work. By contrast, among elite status artists, peer reputation acquired through an artist's institutional affiliations and relatively low cost artists' own reputational work, such as self listing on a highly publicized magazine, were shown to be significant factors associated with fame. Taken together, this paper contributes to research on cultural industries and markets by highlighting the importance of understanding artistic fame not just as the outcome of her/his talent but as the social product that arises at the intersection of actors (artists) and her/his audiences in the social evaluation process.

• Cartoon and Animation Studies
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• s.33
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• pp.293-315
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• 2013

The number of French movies imported to and released in S. Korea is constantly increasing. All French movies released in Korean theatres, however, are not a great success. For the domestic film market and audiences, the idea French cinema is generally equivalent to 'diversity cinema' or 'arthouse films' is common notion. In this respect, French movies introduced throughout the country would be culture product into which one can read other cultural significances different from that of domestic cinema, and also serve significant cultural value to understand diversity in cinema, for domestic audiences. However, it could be said that French movies, in common with Hollywood films, obey rules in the film industry and needs for audience trends. In this content, what the researchers want to do is to analysis the tendency of the domestic audience reception and main causes of commercial success in the domestic film market, analysing Taken produced in France. The analysis, most of all, suggests the consideration for the film industry beside the notion of cultural diversity in cinema, as imported films are released in the domestic theatre. For this, the study examines the promotional strategy the french cinema perceived generally as the arthouse film applies extensively, analysing on Taken, and inquires into factors of commercial success, using SWOT Analysis. This study, the first of all, (briefly) examines what audiences consider when they choose a film to watch, articulating (generally) the choice-and-consume modality of the domestic audience. And then, it examines dominant factors Taken was a commercial success in domestic film market, even though the film is a french film, using SWOT Analysis. On the basis of SWOT Analysis, finally, this study draws up promotional plan for Taken, and shed new light on dominant preconditions, when the foreign cinema would be imported from the now on.