• 복식
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• 제53권7호
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• pp.95-109
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• 2003

The style of different styles of clothing have been developed by not only the natural environment and social effects. but also by various variables such as the peculiar cultures and religions of different ethnic groups. It is naturally accepted without question that the origin of trousers was derived from the Skytie race in the modern style of dress. And the style of those trousers has changed and developed throughout a long history in different environments and surroundings. As part of the research of the process in this styles of clothing, it is essential to know how the fabric of trousers has been developed and how the styles have been changed because of different weather conditions and different religions. Nowadays, Eurasian countries was scattered from western and eastern Asian countries to middle Asian countries such as Russia, Uzbekistan, Kazakistan, Turkey, Turkmenistan, Iran and China. These countries are located on the way to the Silk Road. They are fully developed in a cultural area among the different religions. In terms of cultural aspects within the different religions, men's trousers had developed the traditional style of this dress as one of the importnat items on the cultural basis. The ranges and types of these traditional trousers are divided by the regions, such as west and southern Asia, central Asia and China. Pakistan, Afghanistan, Iran, Iraq, Syria, Lebanon, Turkey. Jordan, Saudi Arabia, Kuwait and Israel was a part of the west and southern Asian countries which were located between western countries and eastern countries. This tribes wore Shalwar trousers which is a wide style of trousers. Shalwar in the western and eastern Asian region has a specific feature by the each nation but has the same distinctions such as by using very wide and loose style and tying a fine thread around the waist. Some central Asian countries consisted of part of China, Turkmenistan. the Republic of Tajikistan. the Republic of Kyrgyzstan and the Republic of Afganistan. These style of trousers are compound types which appeared with mixing Draperian Greek culture. So it can be inferred from this data that the horse-riding nomadic trousers which had been handed down from Skytie tribe through Persia. The style of the trousers in those regions has small pieces. The style of the trousers in China, which is located on the way to the far eastern countries, has developed new trousers put together two pieces of the textile. These widen trousers can be worn by using a sash belt. So we can find out that those trousers of countries which mentioned above have a common point and a rule.

• 복식
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• 제29권
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• pp.5-22
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• 1996

the present thesis aims to contribute to the further development of the men's wear indus-try in Korea which now confronts the need to adjust itself more actively to the conditions of the coming age of internationalization and free trade. To achieve this this thesis suggests the trade should provide for the changing domestic needs on theone hand and refine its wares as high value-added products in compe-tition with those from the advanced countries in fashion industry on the other, The history of the 'suit' the standard men's attire dates back to 1850 when the 'Ditto suit' was introduced composed of coat waist coat vest and trousers to remain virtually unchanged till the end of the nineteenth cen-tury and the modern men's wear originated in Britain. In Korea since the introduction of western clothes from 1876 custom-made suits had been dominant until 1944 while western clothes earned popular currency between 1945 and 1964 and ready-made suits began to spread with their advantages recognized in terms of practicality convenience and functionality The next phase from 1965 to 1985 witnessed the establishment of a number of ready-made brands although custom-made suits stayed in their height of prosperity until 1975. The turn-ing point for the men's wear industry came in 1975 when high-calss ready-made brands be-gan to turn up with the arrival of large companies in the market matching the change in consumers' life style. The men's wear market went through further diversification and specialization dur-ing the years between 1985. and 1990. Around the year 1990 however the expansion of the business suit industry came to slow down ac-companied by an oversupplied market. The fashion of pragmatism in the 1990s called for the growth of the casual wear department and as consumers' life style became more and more individualized conscious dressing in accord ance with T.P.O established itself as an important branch of culture, Such casual boom is likely to aid in promoting Korea's men's wear indus-try to peer with that of advanced countries. Consumers' fashion sense is now ahead of the trade's as well as being shortcycled highly individualized stylized and diversified. To meet consumers' demands under such circum-stances each company is required to develop its unique soft Know How based on accurate information and strategically specialized plan-ning. The trade should convert its hithero producer-oriented strategy to a new consumer oriented one and actively lead the needs and purchasin g pattern of consumers by providing an efficient and reasonable price policy with optimum supply of merchandise and also by presenting 'our' trend suited to our circum-stances.

• 디지털융복합연구
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• 제15권8호
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• pp.401-407
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• 2017

최고의 대중예술로 보다 더 확고히 자리 잡은 영화 콘텐츠는 지구촌 사회의 문화에 가장 보편적인 내용과 공감대를 바탕으로 트렌드를 반영하는 메인 엔터테인먼트 콘텐츠이다. 그러나 현대영화는 오락성과 자극적 감성에 어필하는 대중의 기호에 보다 민감하기 때문에 예술적 표현의 감상을 통한 지적 쾌감의 기회의 감소는 불가피하며 아쉬울 수밖에 없다. 본 논문에서는 영화 속 쇼트들의 상징적 의미를 분석하여 그 외형 속에 투영된 내면의 본질을 파악케 하며 궁극적으로 표현된 주제 메시지를 도출해내고자 한다. 효과적인 상징 법은 정서를 드러내어 분위기와 무드를 조성하며 인물의 내적 심리 상태 및 의지 등을 잘 표현하면서 깊이 있는 관객과의 소통을 가능케 한다. 이처럼 표면적 이미지의 이면에 존재한 의미를 관객들에게 무의식적으로 전달함으로써 자신이 의도한 메시지를 보다 효과적이고 강하게 전달할 수가 있다. 또한 이를 통해 관객 기대 감성 구도에서 어떤 연상 작용 혹은 아이러니와 이미지의 충돌을 통한 화면 내의 대비 에너지 상승 등의 효과창출도 기대할 수 있다.

• Toxicological Research
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• 제22권1호
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• pp.23-30
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• 2006

Among poly aromatic hydrocarbons, dioxin and PCBs are the most controversial environmental pollutants in our modern life. These pollutants are known as human carcinogens, and liver is the most sensitive target in animal cancer models. Specific aims of the study were focused on the mechanism of carcinogenesis in hepatocytes and the structure-activity relation among these diverse environmental chemicals. Because key mechanisms of dioxin-induced carcinogenesis in human epithelial cell model are the alteration of signal transduction pathway and PKC isoforms, the alteration of the signal transduction pathways and other factors associated with carcinogenesis were studied. Rat hepatocytes cultured under the sandwich protocols were exposed with the various concentration of dioxins and PCBs, and signal transduction pathway, protein kinase C isoforms, oxidant stress, and apoptotic nuclei were evaluated. Since it is important to understand the structure-activity relation among these chemicals to properly assess the carcinogenic potentials, the study analyzed the parameters associated with carcinogenic processes, based on their structural characteristics. In addition, signal transduction pathways and PKC isoforms involved in inhibition of UV-induced apoptosis were also analyzed to elaborate the tumor promotion mechanism of these chemicals. Induction of apoptosis by UV irradiation was optimal at $60\;J/m^2$ in primary hepatocyte in culture. Compared to non coplanar PCBs such as PCB 114 and PCB 153, coplanar PCBs such as PCB 77 and PCB126 showed a stronger inhibition of apoptosis induced by UV irradiation. Production of reactive oxygen species (ROS) was more stimulated by non-coplanar PCBs than coplanar PCBs with the most potent induction of ROS by chlorinated non-coplanar PCB. As compared to the level of induction by PCB126, non-coplanar PCB153 showed a higher increase of intracellular concentrations. Besides the alteration of intracellular calcium concentration, translocation of PKC from cytosolic fraction to membrane fraction was clearly observed upon the exposure of non-coplanar PCB. Taken together, the present study demonstrated that there is a potent structure-activity relationship among PCB congeners and the mechanism of PAH-induced carcinogenesis is structure-specific. The study suggested that more diverse pathways of PAH-induced carcinogenesis should be taken into account beyond the boundary of Ah receptor dogma to assess the health impact of PAH with more accuracy.

• 식물조직배양학회지
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• 제25권6호
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• pp.453-475
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• 1998

During the 100 years since the initial discovery of meiotic phenomenon many brilliant aspects have been elucidated, but further researches based on light microscopy alone as an experimental tool have been found to have some limits and shortcomings. By the use of electron microscopy and armed with the advanced knowledges on modern genetics and biochemistry it has been possible to applu molecular technology in gaining information on the detailed aspects of meiosis. As synapsis takes place, a three-layered proteinous structure called the synatonemal complex starts to form in the space between the homologous chromosomes. To be more precise, it begins to form along the paired chromosomes early in the prophase I of meiotic division. The mechanism that leads to precise point-by-point pairing between homologous chromocomes division. The mechamism that leads to precise point-by-point pairing between homologous chromosomes remains to be ascertained. Several items of information, however, suggest that chromsome alignment leading to synapsis may be mediated somehow by the nuclear membrane. Pachytene bivalents in eukaryotes are firmly attached to the inner niclear membrane at both termini. This attached begins with unpaired leptotene chromosomes that already have developed a lateral element. Once attached, the loptotene chromosomes begin to synapse. A number of different models have been proposed to account for genetic recombination via exchange between DNA strands following their breakage and subsequent reunion in new arrangement. One of the models accounting for molecular recombination leading to chromatid exchange and chiasma formation was first proposed in 1964 by Holliday, and 30 years later still a modified version of his model is favored. Nicks are made by endomuclease at corresponding sites on one strant of each DNA duplex in nonsister chromatid of a bivalent during prophase 1 of meiosis. The nicked strands loop-out and two strands reassociate into an exchanged arrangement, which is sealed by ligase. The remaining intact strand of each duplex is nicked at a site opposite the cross-over, and the exposed ends are digested by exonuclease action. Considerable progress has been made in recent years in the effort to define the molecular and organization features of the centromere region in the yeast chromosome. Centromere core region of the DNA duplex is flanked by 15 densely packed nucleosomes on ons side and by 3 packed nucleosomes on the other side, that is, 2000 bp on one side and 400 400 bp in the other side. All the telomeres of a given species share a common DNA sequence. Two ends of each chromosome are virtually identical. At the end of each chromosome there exist two kinds of DNA sequence" simple telpmeric sequences and telpmere-associated sequencies. Various studies of telomere replication, function, and behabior are now in progress, all greatly aided by molecular methods. During nuclear division in mitosis as well as in meiosis, the nucleili disappear by the time of metaphase and reappear during nuclear reorganizations in telophase. When telophase begins, small nucleoli form at the NOR of each nucleolar-organizing chromosome, enlarge, and fuse to form one or more large nucleoli. Nucleolus is a special structure attached top a specific nucleolar-organizing region located at a specific site of a particular chromosome. The nucleolus is a vertical factory for the synthesis of rRNAs and the assenbly of ribosome subunit precursors.sors.

• 한국지구과학회지
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• 제26권6호
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• pp.597-602
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• 2005

무안군 피서리 유적지에 노출된 후기 제4기층에서 포자$\cdot$화분 분석결과，낙엽성 활엽수　화분이 주종을 이루고 있으며 초본류와 침엽수 화분도 풍부하게 산출되었다. 대표적인 종류로는 고란초과, 낙우송과-측백과-주목과, 오리나무속, 서어나무속, 낙엽성 참나무속, 국화과 및 벼과 등이다. 탄소연대측정 결과, 그 생성 시기가 지난 최후 빙하기에 해당하는 43,000-18,000 yr BP 로 측정된 이 포자$\cdot$화분군은 오늘날 한반도 중부의 한랭한 온대 낙엽성 활엽수림의 식생과 유사하다. 전체적인 식생 조성에 근거하여 3개의 포자$\cdot$화분 분대를 설정하였다. Zone I은 고란초과, 낙우송과-측백과-주목과, 오리나무속 및 낙엽성 나무속 등으로 이루어진 한랭한 온대의 낙엽성 활엽수림을 지시하며 특징적으로 난대종이 지속적으로 산출된다. Zone II에서는 고란초과와 낙우송과-측백과-주목과 등이 뚜렷하게 감소하고 초본류가 증가하는 양상을 보이는데 이는 당시에 한랭한 온대의 낙엽성 활엽수림과 함께 부분적으로 초지가 분포했음을 의미한다. Zone III에서는 초본류의 지속적인 산출과 함께 침엽수가 증가하는 경향을 보인다. 피서리 포자·화분군의 식생 조성은당시의 기후가 한랭한 온대였다는 것을 지시하며 시간이 흐르면서 점차 한랭·건조해진 것으로 해석된다.

• 대한한의학회지
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• 제28권2호통권70호
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• pp.213-223
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• 2007

Objective : Alzheimer's disease (AD) is a geriatric dementia that is widespread in old age. With an aging populace, AD is a looming problem in public health service. Alzheimer's disease is characterized by specific neuronal degeneration in certain areas of the brain. Mutations and abnormal expression of several genes are associated with ${\beta}-amyloid$ deposits and Alzheimer's disease; among them APP, PS1, and PS2, SOD, free radical, ROS. Methods:We studied herbal medicines that have a relationship to brain degeneration. From pre-modern times, although a variety of oriental prescriptions of Aster tataricus have been traditionally utilized for the treatment of AD, their pharmacological effects and action mechanisms have not yet been fully elucidated. Result : Based on morphological observations by phase-contrast microscope, TUNEL assay and MTT in the culture media, $H_20_2-induced$ cell death was significantly inhibited by Aticus. We examined by ROS formation, catalase activity and GSH activity. We studied the protective effect and inhibitory effects of neurotoxicity in $H_20_2-induced$ PC-12 cells by Aticus. Findings from our experiments show that Aticus inhibits apoptosis, which has neurotoxicities and cell damage in PC-12 cells. In addition, treatment with Aticus ($>25{\mu}g/ml$ for 6hrs) partially prevented $H_20_2-induced$ cytotoxicity in PC-12 cells, and induced a protective effect. Conclusion : As the result of this study, in the Aticus group, the apoptosis in the nervous system was inhibited, protected against the degeneration of PC-12 cells by $H_20_2$. Taken together, Aticus exhibited inhibition of $H_20_2-induced$ apoptotic cell death. Aticus was found to induce protective effect on GSH and catalase in PC-12 cells. Based on these findings, Aticus may be beneficial for the treatment of AD.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 한국전통조경학회지
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• 제31권2호
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• pp.82-91
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• 2013

본 연구는 서울시 성북구 성북동을 대상으로 근대 이후 문화재와 주변 경관 변화과정 및 원인을 사회 문화적인 측면에서 설명하고자 하였다. 이를 위해 1962년부터 2010년까지 사용한 폐쇄지적도를 이용하여 필지를 분석하고, 문헌자료를 참고하여 연구하였다. 시대별 변화과정 확인이 가능한 성락원, 마포최사영고택, 서울선잠단지, 서울한양도성을 위주로 변화과정을 추적하였으며, 문화재의 소경관(素景觀)을 검토하고 필지 변화와 함께 경관변천을 분석하였다. 성락원은 1954년에 송석정과 연못이 조성된 모습을 소경관이라 볼 수 있으며, 마포최사영고택은 2003년 이후 성북동으로 이전 복원한 것, 서울선잠단지는 1960년대 개발로 현재의 터만 남게 된 모습을, 서울한양도성은 숙종30년에 석성으로 개축한 것을 각 문화재의 소경관으로 정의하였다. 성락원은 제도적 요인에 의해 변화가 생겼고, 마포최사영고택과 주변 경관은 사회경제적 요인에 의해 변화가 생겼으며, 서울 선잠단지와 그 주변은 사회경제적 제도적 요인에 의해, 서울한양도성과 그 주변은 기술적 제도적 요인에 의해 변화가 생겼다고 볼 수 있다. 이처럼 성북동의 문화재와 그 주변경관은 대체로 제도적 요인과 사회경제적 요인에 의해 변화가 생기는 것을 알 수 있었다. 근대 이후 서울의 도시계획이 성북동에도 영향을 미쳤으리라 예상되며, 자본주의 경제체제 확립이 그 배경이 된 것이라 판단된다. 따라서 문화자원으로서의 잠재적 가치를 인식한 바람직한 경관변화가 이루어지길 기대한다.