• 한국실내디자인학회논문집
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• 제13호
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• pp.150-160
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• 1997

The tendency of the Minimalism in the contemporary a architecture is based on Mies van der Rohe s saying ‘나SS IS m more" as the principle of the Minimal art and its formative c composition. It can be divided into technical Minimalism p prevailed in Northern Europe and the zone of German l language, and the regional one in Southern Europe and S Southern America. The former is interested in the experiences of the techniques and materials, and the latter in that of the s space and the place through the simple forms. The minialistic approach to the architecture is nat only m methodological one. It accepts the concept and the construction of architecture as 2 axes for making it keeps the tradition and c communication with the master builder, the materials, and i염 m means to compound. The expressive characteristics of works in M Minimalism are 1) as the formal issue, it is simple, self-referring. without any symbol or any allusion, and compounds the r repetitive forms as the comceptual aspec않 of architecture, 2) it h has the characteristies such as the approach directly to the m means by which architecture made, the critical interests to the m material attributes, and the capacity to the contemporary t technology as the issue of technique and materials, 3) regarding t the space and the place, it shows the good sense to the site in t the sphere intervention of architecture 1e Maininlalism architecture has i않 impotance in the point t that it seeks to the qualities immanent in architecture by s showing the marvelous status through discovering the i immanent properties of the site, program materials, and the s structure, and also it begins new way of interpreting a architecture with new viewpoint to the its essence as well as a architecture itself.self.

• 대순사상논총
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• 제34집
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• pp.27-48
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• 2020

「济生医世者, 圣人之道也」, 「济生医世」的医疗思想是大巡真理会 《典经》 中蕴含的重要思想内容之一。道教经典 《灵宝无量度人上品妙经》 (以下简称 《度人经》) 中的亦有与「济生医世」思想类似的「济世度人」思想, 二者皆围绕个体与社会的救治, 旨在治愈身体疾病与社会弊病, 具有一定内在思想关联。二者都受到了道教易学思想的影响, 具有借医弘道的特点, 同时又注重宗教信仰疗法对于病患的作用。虽然这两种思想产生于不同的年代, 不同的国家, 但我们仍可以从中窥得其共通性的一面。本文主要从三个维度来探讨大巡医疗思想特色及其与道教「济世度人」思想之關係 : 分析大巡真理会「济生医世」思想产生的背景, 主要包括社会群体与生命个体两个因素分析 ; 剖析大巡「济生医世」作为一种宗教医疗手段, 主要包括「济生」之法和「医世」之法 ; 通过大巡「济生医世」与 《度人经》 「济世度人」思想对比, 指出二者在宗教思想层面内在融通性。

• 한국식생활문화학회지
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• 제2권1호
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• pp.81-92
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• 1987

This treatise deals with chronic state of famine and exploitation of famine relief food in the later half of Chosun Period and especially in relation with socio-economic changes. There with the impact of socio-economic factors on the chronic state of famine and exploitation of famine relief food is studied mainly with a literary approach. The influential factors which lead to the chronic state of famine were not only climatic restrictions such as flood and drought but socio-economic factors such as foreign invasion (Japanease invasion and Ching's invasion), frequent breaking out of revolt and technological development of agriculture (rice transplantation). And disorder of land system and cultivation of cash crops by the richer peasantry, lowering the economic status of the poorer peasantry who were a major constituents of the population, aggravated the famine state. Because the poorer peasantry were under the shortage of food, they had to seek something edible in the fields and mountains. In this process various kinds of famine relief foods were exploited by the poorer peasantry. The majority of famine relief foods were wild vegetables. Consequently the Chronic state of famine was a cause to introduce various edible wild vegetables into Korean food, which influenced modern vegetarian food habits and firmed the Korean's favorite taste to be hot and salty. These wild vegetables couldn't have a marvelous effect on the relief of starved people. Potatoes and sweet potatoes, which were newly introduced foreign crops, were encouraged to be cultivated for famine relief. But these tubers, unable to be staple food, didn't contribute to an increase in population.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• Journal of Microbiology and Biotechnology
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• 제18권10호
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• pp.1621-1629
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• 2008

Harmful algal blooms (HABs), commonly called red tides, are caused by some toxic phytoplanktons, and have made massive economic losses as well as marine environmental disturbances. As an effective and environment-friendly strategy to control HAB outbreaks, biological methods using marine bacteria capable of killing the harmful algae or algicidal extracellular compounds from them have been given attention. A new member of the $\gamma$-Proteobacteria, Hahella chejuensis KCTC 2396, was originally isolated from the Korean seashore for its ability to secrete industrially useful polysaccharides, and was characterized to produce a red pigment. This pigment later was identified as an alkaloid compound, prodigiosin. During the past several decades, prodigiosin has been extensively studied for its medical potential as immunosuppressants and antitumor agents, owing to its antibiotic and cytotoxic activities. The lytic activity of this marvelous molecule against Cochlodinium polykrikoides cells at very low concentrations ($\sim$l ppb) was serendipitously detected, making H. chejuensis a strong candidate among the biological agents for HAB control. This review provides a brief overview of algicidal marine bacteria and their products, and describes in detail the algicidal characteristics, biosynthetic process, and genetic regulation of prodigiosin as a model among the compounds active against red-tide organisms from the biochemical and genetic viewpoints.

• Journal of Ginseng Research
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• 제44권3호
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• pp.496-505
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• 2020

Background: Panax ginseng is a marvelous herbal remedy for all ailments of body. That may be why it is called Panax, which means "cure for all". Melanin is a pigment that gives color to our skin; however, increased melanin production can lead to tumor formation. Human exposure to ultraviolet B radiation has increased extensively owing to the increased sunlight due to global warming. Consequently, a phenomenon called photoaging has been observed for all skin colors and types. As a result of this phenomenon, a set of enzymes called matrix metalloproteinases, which serve as degradation enzymes for extracellular matrix proteins, mainly collagen, is increased, causing depletion of collagen and resulting in early wrinkle formation. Methods: Therefore, in our study, we used the murine melanoma cell line B16/F10 to study the inhibition of melanogenesis by Korean Red Ginseng (KRG) extract in vitro and HRM-2 hairless mice exposed to artificial ultraviolet B to examine the efficacy of KRG in vivo. We prepared a 3% red ginseng extract cream and evaluated its effects on human skin. Results: Our results demonstrated that KRG induced potent suppression of tyrosinase activity and melanin production in B16/F10 cells; moreover, it reduced the transcription and translation of components involved in the melanin production pathway. In the in vivo experiments, KRG potently suppressed the expression of matrix metalloproteinases, reduced wrinkle formation, and inhibited collagen degradation. On human skin, ginseng cream increased skin resilience and skin moisture and enhanced skin tone. Conclusion: Therefore, we conclude that KRG is an excellent skin whitening and antiaging product.

• Korean Chemical Engineering Research
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• 제54권5호
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• pp.693-697
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• 2016

본 연구에서는 탄소나노튜브(CNT), 글루코스 산화효소(Glucose oxidase, GOx) 및 다양한 분자량의 가지달린 폴리에틸렌이민(Polyethyleneimine, branched, bPEI)을 물리적으로 결합하여 GOx/PEI/CNT 구조를 제조한 뒤, 가교제인 테레프타랄데하이드(Terephthalaldehyde, TPA)와 알돌축합반응을 통해 TPA/[GOx/bPEI/CNT] 구조의 촉매를 합성하였으며, 각각의 전기화학적 특성 및 장기안정성 등을 평가하였다. GOx/PEI/CNT의 경우, PEI의 분자량의 증가에 따라 유의한 차이를 확인할 수 없었으나, TPA 도입한 TPA/[GOx/bPEI/CNT]는 PEI 분자의 증가에 따라 전자전달 및 장기안정성은 향상되며 글루코스의 물질전달은 감소함을 확인하였다. 또한 효소연료전지 음극 촉매로서의 최적 bPEI 분자량을 확인한 결과, 750 k PEI를 이용한 촉매(TPA/[GOx/bPEI-750k/CNT]에서 최고의 최대전력밀도($0.995mW{\cdot}cm^{-2}$)를 얻을 수 있음을 확인하였다.

• 복식
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• 제4권
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• 대중서사연구
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• 제25권4호
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• pp.135-158
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• 2019

본고의 목적은 기예르모 델 토로의 <판의 미로>(2006)를 환상영화로 평가하게 해주는 특성과 그것에 밀접하게 결부되어 나타나는 미궁의 모티프의 의미와 기능을 고찰하는 데 있다. 츠베탕 토도로프는 '환상적인 것'을 현실에 침입한 초자연적인 사건에 직면하여 자연적 해석과 초자연적 해석 사이에서 겪는 망설임이라고 정의하였는데, <판의 미로>는 그 망설임이 사라져 환상적인 것이 '기이'장르나 '경이'장르로 들어가도록 하지 않고 그 상태가 그대로 유지되도록 하기 때문에 이 영화에서는 환상성이 계속해서 잘 드러난다. 이때 미궁은 환상계로 들어가는 통로이자 그것을 대표하는 공간으로서 예술을 상징한다. 로즈메리 잭슨은 환상이 "문화적 속박으로부터 비롯된 결핍을 보상하려고 하는 욕망의 문학"이어서 무의식적 제재들을 반복적으로 다룬다고 보았는데, 델 토로의 영화는 환상 세계에서 가족 로맨스가 이루어지도록 함으로써 욕망의 표현으로서의 환상의 특성을 잘 보여준다. 이때 미궁은 욕망의 장소로서 마음을 상징한다. 캐스린 흄은 환상이 미메시스와 같이 현실에 대한 반응이자 '일치된 현실로부터의 이탈'이라고 정의하였는데, 이 영화는 '비전'장르로서 '대조'의 방법을 통해 환상계가 현실계를 비추도록 함으로써 그 정의를 충족시키고 그것이 가진 환상성을 돋보이게 한다. 이때 미궁은 현실계의 거울로서 세계를 상징한다. 이처럼 <판의 미로>는 환상적인 것이 매우 효과적으로 기능한다는 점에서 환상영화를 대표할 만하며, 이 영화에 나타난 미궁은 예술, 세계, 마음의 세 가지를 모두 상징하여 의미가 충만한 모티프라고 평가할 수 있다. 본고의 의의는 위와 같은 고찰을 통해 한 모티프가 특정 장르에서 작용하는 방식을 조명한 데 있다.

• 대순사상논총
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• 제16권
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• pp.69-85
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• 2003

Death has been one of the basic objects in philosophy and religion. Why do people feel afraid about death? Maybe it is because they don't know the situation after death or because they have a wrong idea about it. Someone may think that he/she doesn't care the situation. But this attitude is wrong. We must understand that our attitude about life is shaped by our knowledge of the situation after death. A recurrent theme about death in popular thought is the idea that death is mysterious. As we have seen, it is difficult to formulate a satisfactory philosophical analysis of the concept of death. If it is impossible to analyse the concept of death, then it is impossible to explain precisely what we mean when we say that something dies. It might be said therefore that, in virtue of this fact, death is mysterious. Of course, death is not distinctively mysterious - all other unanalysable concepts are equally mysterious in this way. Reflection on death gives rise to a variety of philosophical questions. One of the deepest of these is a question about the nature of death. Typically, philosophers interpret this question as a call for an analysis or definition of the concept of death. Plato, for example, proposed to define death as the separation of soul from body. However, this definition is not acceptable to those who think that there are no souls. It is also unacceptable to anyone who thinks that plants and lower animals have no souls, but can nonetheless die. Others have defined death simply as the cessation of life. This too is problematic, since an organism that goes into suspended animation ceases to live, but may not actually die. The eastern philosophers proposed to define death as the nonduality of life and death. Taoists, for example, do not believe in the Wheel of Life of the Buddhists nor in the Heaven or Hell of Christianity. Taoists view existence as glorious. The whole Universe, they teach, is a marvelous, vibrant Unity wherein everything, visible and invisible, pulses with energy and changes. As being develops through the experience of existence, its vessels are swept onwards by the mighty stream of the eternal TAO to other forms of expression and activity. Man does not die; he merely extends into new fields. Taoists teach that the end of a person is the return to the Ultimate Reality. "Life is uncertain - Death is certain": This is a well known saying in Buddhism. Knowing very well that death is certain and it is a natural phenomenon that everyone has to face, we should not be afraid of death. Yet, instinctively, all of us fear death because we do not know how to think of its inevitability. We like to cling to our life and body and so develop too much craving and attachment.