• Journal of Information Technology Applications and Management
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• 제29권6호
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• BMB Reports
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• 제51권4호
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• pp.165-166
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• 2018

Osteoarthritis (OA) is the most common form of arthritis and is a leading cause of disability with a large socioeconomic cost. OA is a whole-joint disease characterized by cartilage destruction, synovial inflammation, osteophyte formation, and subchondral bone sclerosis. To date, however, no effective disease-modifying therapies for OA have been developed. The estrogen-related receptors (ERRs), a family of orphan nuclear receptor transcription factors, are composed of $ERR{\alpha}$, $ERR{\beta}$, and $ERR{\gamma}$, which play diverse biological functions such as cellular energy metabolism. However, the role of ERRs in OA pathogenesis has not been studied yet. Among the ERR family members, $ERR{\gamma}$ is markedly upregulated in human and various models of mouse OA cartilage. Adenovirus-mediated overexpression of $ERR{\gamma}$ in the mouse knee joint tissue caused OA pathogenesis. Additionally, cartilage-specific $ERR{\gamma}$ transgenic (Tg) mice exhibited enhanced experimental OA. Consistently, $ERR{\gamma}$ in articular chondrocytes directly caused expression of matrix metalloproteinase (MMP) 3 and MMP13, which play a crucial role in cartilage destruction. In contrast, genetic ablation of Esrrg or shRNA-mediated Esrrg silencing in the joint tissues abrogated experimental OA in mice. These results collectively indicated that $ERR{\gamma}$ is a novel catabolic regulator of OA pathogenesis and can be used as a therapeutic target for OA.

• 건축역사연구
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• 제12권4호
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• IMMUNE NETWORK
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• 제22권4호
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• pp.34.1-34.19
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• 2022

Osteoarthritis (OA) is the most common form of arthritis associated with ageing. Vitamin D has diverse biological effect on bone and cartilage, and observational studies have suggested it potential benefit in OA progression and inflammation process. However, the effect of vitamin D on OA is still contradictory. Here, we investigated the therapeutic potential of vitamin D in OA. Six-week-old male Wistar rats were injected with monosodium iodoacetate (MIA) to induce OA. Pain severity, cartilage destruction, and inflammation were measured in MIA-induced OA rats. Autophagy activity and mitochondrial function were also measured. Vitamin-D (1,25(OH)₂D3) and celecoxib were used to treat MIA-induced OA rats and OA chondrocytes. Oral supplementation of vitamin D resulted in significant attenuations in OA pain, inflammation, and cartilage destruction. Interestingly, the expressions of MMP-13, IL-1β, and MCP-1 in synovial tissues were remarkably attenuated by vitamin D treatment, suggesting its potential to attenuate synovitis in OA. Vitamin D treatment in OA chondrocytes resulted in autophagy induction in human OA chondrocytes and increased expression of TFEB, but not LC3B, caspase-1 and -3, in inflamed synovium. Vitamin D and celecoxib showed a synergistic effect on antinociceptive and chondroprotective properties in vivo. Vitamin D showed the chondroprotective and antinociceptive property in OA rats. Autophagy induction by vitamin D treatment may be a promising treatment strategy in OA patients especially presenting vitamin D deficiency. Autophagy promoting strategy may attenuate OA progression through protecting cells from damage and inflammatory cell death.

• 한국방사선학회논문지
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• 제6권3호
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• pp.207-215
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• 2012

광 역학치료(Photodynamic therapy: PDT) 중 하나인 기존의 LED 광 조사는 연속파(Continuous wave: C.W) 방식의 635 nm 파장으로 여드름 치유에 가장 많이 사용되어 왔으나, 이 방식은 에너지효율이 낮고 생체조직에 열이 많이 발생하여 개선의 방안이 필요했다. 본 논문에서는 에너지효율을 높이고 여드름 치료를 위하여 생체조직에서의 열적 파괴현상을 방지하기위해 PWM(펄스 폭 변조: Pulse Width Modulation)을 활용한 여드름 치료용 LED 광 조사장치를 설계하였다. 시스템 구성은 크게 Timer 모듈, PWM 모듈, 광학전달 장치로 크게 세구성하여 설계하였으며, 여드름 치료를 위한 피부 투과 깊이를 높이기 위하여 광학전달 장치는 660 nm 파장의 1 W LED를 사용하였다. PWM 제어를 이용하여 발생된 주파수와 파형을 확인하고, 660 nm LED의 출력에너지 및 생체조직의 표면온도를 확인하여 안정적인 에너지출력과 생체조직의 안정성에 대해 평가하였다. 그 결과 여드름 치료를 위한 660 nm 파장의 1 W LED 광 에너지를 얻기 위하여 C.W 방식으로 사용하였을 경우 전력손실이 높고 생체조직에서의 열적 파괴현상을 보였으나, PWM 방식을 구현함으로써 펄스 폭 변조를 통하여 LED의 전력소모를 낮추었고, 생체조직의 열적 파괴현상이 나타나지 않아 여드름 치료를 위해 사용할 경우 C.W 방식보다 PWM 방식이 더 안전하고 효과적일 것으로 사료된다.

• Journal of Nutrition and Health
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• 제9권2호
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• pp.54-58
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• 1976

국내(國內)에서 생산(生産)되는 시유(市乳)와 유제품(乳製品)의 riboflavin함량(含量)을 분석(分析)하고 병우유와 폴리팩우유, 흰우유와 초코렛색의 우유를 대비(對比)시켜 일광(日光)에 예민한 riboflavin의 함량변화(含量變化)를 추적한 결과(結果)를 요약(要約)하면 다음과 같다. (1) Riboflavin의 함량(含量)은 시료 100g당 병우유 흰것 $62.4{\mu}g$, 폴리팩우유 $62.4{\mu}g$, 초코렛우유 $61.5{\mu}g$, 커피우유 $62.5{\mu}g$, 바나나우유 $87.7{\mu}g$, 딸기우유 $89.3{\mu}g$, 발효유 $36.2{\mu}g$, Hard ice cream bar $130.4{\mu}g$, vanilla soft ice cream $195.9{\mu}g$이었다. (2) 한시간 일광(日光)노출후 병우유 72.4%, 폴리팩우유 77,7%, 두시간 경과후 병우유가 92.0%, 폴리팩우유가 91.4%로서 폴리팩우유가 riboflavin이 약간 빨리 파괴되는 경향(傾向)을 보였으나, 두시간 경과후의 파괴율은 서로 비슷하였다. (3) 1시간 일광(日光)노출후 초코렛색 우유는 36.1%, 흰우유는 72.4%, 두시간 후에는 초코렛색 우유 46.3%, 흰우유는 92.0%의 riboflavin의 파괴율을 보여 초코렛우유가 훨씬 파괴율이 적었다. 이상의 결과(結果)로 미루어 특히 여름철의 일광(日光) 노출은 riboflavin의 막대한 손실이 올 수 있음을 알 수 있었고 초콜렛색의 우유가 흰우유 보다 일광(日光)노출에 대한 riboflavin의 보존(保存)에 효과적이었다.

• 건축역사연구
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• 제16권6호
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• pp.121-140
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• 2007

Seowon(書院) is a representing institution in Choseon Dynasty not only educationally but also politically and economically. Due to the artificial crackdown by Daewon-gun in 1871 and destruction by wars, it is difficult to restore and interpret the Seowon accurately at present. It is well known that the 'Basic Form' of the Seowon consists of an inner court, enclosed by the rear gangdang (lecture hall), dongseo-jae (east and west dormitory), and the front munlu (gate pavilion or upper story bower for relaxation), represented by so called 'front-dormitory rear-lecture-hall type', that is, 'jeonjae hudang(前齋後堂) type'. However, it is overlooked that this Basic Form is a product of Youngnam School located only in Youngnam area. A different form, of 'front-lecture-hall rear-dormitory type', or 'jeonndang hujae(前堂後齋) type' is located only in Gyeonggi, Hoseo and Honam area. It has been wrongly analyzed that the type is a result of the later period, emphasizing the memorial service rather than the lecture itself, and worshipping loyalists than Confucian scholars. Analysis encompassing each Seowon architecture has been mistakenly made by historians as "deterioration" of the original educational purpose of the Seowon from the early period to the later period. This paper raises the fact that the form of jeondang hujae type has been established since the early period of Seowon in the 16th Century. It has a unique order of space itself. Here, the lecture hall faces toward sadang (shrine). The inner court, enclosed by east and west jae and the lecture hall, becomes the outer yard of the shrine, and as a result two main spaces of the shrine and lecture area is merged into one. While the munlu of the basic type encloses the inner court of the main area, the munlu of jeondang hujae type is located at the vicinity area. This paper reinterprets the jeondang hujae type not as a form coming out of degenerated period but as a type that belongs to a different Confucian school, the area of Kiho, and concludes that the Seowon is a product of political struggles between the two schools and of the local economical situation. Each school has maintained his own type of form, therefore the remaining Kiho Seowon architecture can be reevaluated.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.85-95
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• 2009

Since the early stages of philosophy in ancient Greece, reason has prevailed over sensation, based on the idea that it was the recognition of the ideal world existing as the archetype of objects. Abstract concepts followed geometric models, though they be invisible. However, from the beginning of 20th century, people began to be interested in the idea in metaphysical philosophy, that reason might not be a characteristic best representing the human spirit, and that a human being is composed of emotion, desire and the physical body, in addition to reason. The study shows that paintings and constructional space have shown similar changes through the stream of time, and have a synchronistic relationship within the range of the formative arts, based on the contemporary philosophy. First of all, it defines the change of contemporary thought and its analysis words. And consider the Corporality which is one characteristic of contemporary thought. This study shows the characteristic of the Corporality in the architectural space of Rem Koolhaas whom it selected the architecture who is influenced by Post-structuralism. In conclusion, It compares paintings and architectural space and looks into the correlations among them in the category of the Corporality which is a pont of view from contemporary thought. As a result of the comparison, the Corporality in paintings is defined as (1) An escape form Reason, (2) An emphasis of experienced events and (3) A destruction of forms. It defines the architectural space of Rem Koolhaas corresponding with the Corporality in paintings has a characteristic of (1) The space of Body without Organs, (2) Becoming spatial concept of events and (3) An Unrestrained Form.

• 패션비즈니스
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• 제19권4호
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• pp.135-152
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• 2015

The purpose of this study is to explore the role of deconstruction and creative destruction in Maison Margiela’s fashion design code, which has opened the door to a new wave of innovative design since 1988. Using a combination of theoretical analysis, precedent research, and a review of existing literature, five years of Maison Margiela's works (2010-2014) were evaluated. The analysis shows that Maison Margiela’s Design Code consists of the following key elements: Addition, Extension, Asymmetry, Elimination, Deconstruction, Complanation, and Inversion. Addition refers to act of attaching additional pieces of fabric or clothing on the existing piece. Extension refers to the act of extending the design elements, such as their position or features. Asymmetry means the irregular positioning of left-to right and front-to-back length and features. Deconstruction could be seen in intentionally frayed sleeves, open seams, and tears in the cloth. The element of Elimination was evident in the removal of key pieces of clothing such as a coat, pants, blouse, and a jacket. Complanation refers to the reversion to a two dimensional contemplation of the human form rather than the more obvious 3-dimensional form. Finally, Inversion was used by displaying an inner layer of clothing on the outside or exposing seams or zippers in a way that people are not accustomed to seeing. It also meant that the order of wearing clothes was sometimes inverted, so external layers would be worn within clothing that are traditionally underneath. Maison Margiela’s creations represented a break

• 복식
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• 제60권7호
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• pp.47-60
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• 2010

The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.