식물세포에서 분리한 Tonoplast Vesicle 에서의 Ca2+ 수송과 Inositol 1 , 4 , 5 - trisphosphate ( IP 3 ) 의 작용

김현주,이준승 ( Hyeon Joo Kim,June Seung Lee ) 생화학분자생물학회 1989 BMB Reports Vol.22 No.4

Auxin may exert its effects through Ca^(2+) as a secondary messenger. To test this hypothesis, effects of auxin on Ca^(2+) release from isolated tonoplast vesicles was investigated. Tonoplast vesicles were isolated from red beet roots(Beta vulgaris L.) by metrizamide discontinuous density-gradient centrifugation. Uptake of ^(45)Ca^(2+) into tonoplast vesicles was ATP-dependent, and was blocked by calcium entry blockers such as Diltiazem, Verapamil, Flunarizin. Auxin did not induce the release of ^(45)Ca^(2+) from tonoplast vesicles preloaded with the cations, but Inositol 1,4,5-trisphosphate (IP₃) did. The IP₃ induced ^(45)Ca^(2+) release was dependent on IP₃ concentration, and was blocked by the Ca^(2+) antagonist, 8-(N,N-diethylamino)-octyl 3,4,5-trimethoxybenzoate-HCl (TMB-8). Auxin is known to generate transient change in levels of Inositol 1,4,5-trisphosphate (IP₃) and Inositol bis-phosphate (ptdIns(4,5)P₂) within minutes in Catharanthus roseus (Ettlinger, et al., 1988). These results indicate that auxin cannot alter cytoplasmic calcium levels directly but through the IP₃ secondary messenger system.

식물세포에서 분리한 Tonoplast Vesicle에서의 $Ca^{2+}$ 수송과 Inositol 1, 4, 5-trisphosphate $(IP_3)$의 작용

김현주,이준승,Kim, Hyeon-Joo,Lee, June-Seung 생화학분자생물학회 1989 한국생화학회지 Vol.22 No.4

오옥신의 작용이 $Ca^{2+}$을 매개로 일어나는지를 확인하기 위하여 Red Beet Root (Beta vulgaris L.)에서 Metrizamide discontinuous density-gradient centrifugation 방법으로 $Ca^{2+}$ pool 이라고 생각되는 tonoplast vesicle을 분리하여 오옥신이 tonoplast vesicle로부터의 $Ca^{2+}$방출에 어떤 영향을 미치는가를 조사하였다. 분리된 tonoplast vesicle내로 $^{45}Ca^{2+}$은 ATP dependent한 과정에 의해 흡입되며 이러한 tonoplast vesicle내로의 $^{45}Ca^{2+}$ 유출입은 Diltiazem, Verapamil, Flunarizine 같은 calcium entry blocker에 의해 억제된다. 오옥신은 $^{45}Ca^{2+}$이 미리 loading된 tonoplast vesicle로부터의 $^{45}Ca^{2+}$방출에 직접적인 영향을 미치지 않으나, Inositol 1,4,5-trisphosphate $(IP_3)$는 $^{45}Ca^{2+}$이 ATP dependent한 과정에 의해 미리 loading된 tonoplast vesicle로부터 $^{45}Ca^{2+}$방출을 촉진시키며 $IP_3$에 의한 $Ca^{2+}$ 방출은 $IP_3$농도에 의존한다. 또한 $IP_3$에 의한 tonoplast vesicle로부터의 $^{45}Ca^{2+}$방출은 $Ca^{2+}$ antagonist인 8-(N, N-Diethylamino)-octyl 3,4,5-Trimethoxybenzoate-HCl(TMB-8)에 의해 억제된다. 오옥신이 빙카(Catharanthus roseus)의 $G_1$단계에서 멈춘 세포에서 Phosphatidylinositol의 turnover에 영향을 미친다는 보고(Ettlinger et al., 1988)와 이 실험결과로 오옥신은 세포질의 $Ca^{2+}$농도를 직접 조절하는 것이 아니라 $IP_3$를 Secondary messenger로 하여 세포절의 $Ca^{2+}$농도를 조절한다고 생각된다. Auxin may exert its effects through $Ca^{2+}$ as a secondary messenger. To test this hypothesis, effects of auxin on $Ca^{2+}$ release from isolated tonoplast vesicles was investigated. Tonoplast vesicles were isolated from red beet roots(Beta vulgaris L.) by metrizamide discontinuous density-gradient centrifugation. Uptake of $^{45}Ca^{2+}$ into tonoplast vesicles was ATP-dependent, and was blocked by calcium entry blockers such as Diltiazem, Verapamil, Flunarizin. Auxin did not induce the release of $^{45}Ca^{2+}$ from tonoplast vesicles preloaded with the cations, but Inositol 1,4,5-trisphosphate $(IP_3)$ did. The $IP_3$ induced $^{45}Ca^{2+}$ release was dependent on $IP_3$ concentration, and was blocked by the $Ca^{2+}$ antagonist, 8-(N,N-diethylamino)-octyl 3,4,5-trimethoxybenzoate-HCl (TMB-8). Auxin is known to generate transient change in levels of Inositol 1,4,5-trisphosphate $(IP_3)$ and Inositol bis-phosphate (ptdIns(4,5)$P_2$) within minutes in Catharanthus roseus (Ettlinger, et al., 1988). These results indicate that auxin cannot alter cytoplasmic calcium levels directly but through the $IP_3$ secondary messenger system.

[서양미술사] 국내 서양미술사학의 확장

김현주(Kim, Hyeon-joo) 역사학회 2011 역사학보 Vol.0 No.211

Western Art History has been established as a separate discipline from the traditional art histories in Korean academia since it was introduced in the early 1980s. During the past two years of 2009 and 2010, 118 scholarly papers were published in this field including 11 books, which were very productive results comparing to the number of scholars. Almost the half of the research papers and books concentrated on the study of contemporary art, in which art criticism, theory, exhibitions, institutions, patronage, and some other themes were explored. While the number of scholars majoring in the history of contemporary art has constantly increased, the field of early modern art were maintained by several scholars. Three international symposiums, held under the title of “Nationalism in Art History”, “Discussions between Art History and Visual Culture”, and “Art on the Road”, turned out to be the productive events in which scholars from abroad and domestic could actively exchange their opinions on some of the most current issues in Art History. The interest in the contacts among different regions, or adjacent cultural genres, and its influence on art were persisted in all areas. Discussions on modernity, public art discourses, art market, and technology in art were also proceeded during these two years. Many scholars tried to explore current issues from new perspectives, or with new methodologies adopted from New Art History and Post-Sturucturalist theories. It was found, however, that the objects of study in many papers were still remained in artworks, or artists. It has been suggested that art historians should examine Visual Culture Studies in order to find the ways to overcome the limits and exclusiveness of Western Art History. In recent years, Visual Culture Studies has been gradually accepted and integrated into the Art History. Many of scholars in this field have been royal consumers of Western Art History for a long time. Now it is the time to think about what we have to do for the future of the discipline in Korea. We should find an effective way of intervening into Western Art History here in Korea in order not to be remained as an ‘other’ to the discipline.

저관전압 흉부 CT검사 시 CT value의 변화에 따른 영상평가

김현주(Hyun Joo Kim),송훈(Hoon Song),조인완(In Wan Cho),안수현(Su Hyeon Ahn),신훈(Hoon Shin),유병헌(Byeong Heon Yoo),김승식(Seung Sik Kim) 대한CT영상기술학회 2007 대한CT영상기술학회지 Vol.9 No.1

Purpose Experiments carried out on the patients who visited this department for pulmonary disease and need CT scans for Follow-up to observe change of CT value, evaluation of image quality and decrease of radiation dose as change of tube voltage Materials and Methods Subjects were the patients of 20 persons visited this department for pulmonary disease and Somatom Sensation 16(Siemens, Erlangen, Germany) was used. Measurement of CT value as change cf tube voltage was done by setting up ROI diameter of 1cm at the height of thyroid, aortic arch, right pulmonary artery in arterial phase image using 100OkVp, measuring 3 times, and recorded the average. CT value of phantom was measured by scanning phantoms which means contrast media diluted by normal saline by various ratio with tube voltage of 80kVp, 100kVp, 120kVp, 140kVp and recorded the average of 3 CT values of center of phantom image. In analysing radiation dose, CTDIvol. values of the latest arterial phase image of 120kVp and as this research set that of 100kVp were analyzed comparatively. 2 observers graded quality of chest images by 5 degrees (UnaccepTable, Suboptimal, Adequate, Good, Excellent diagnostic quality). Results CT value of chest image increased at 100kVp by 14.06%~27.26% in each ROI than 120kVp. CT value of phantom increased as tube voltage lowered at various concentration of contrast media. CTDIbol. decreased at 100kVp(5.00mGy) by 36% than 120kVp(7.80mGy) in radiation dose analysis. here were 0 UnaccepTable, 1 Suboptimal, 3 Adequate, 10 Good, 6 Excellent diagnostic quality in totally 20 persons. Conclusion Chest CT scanning with low kilo-voltage for patients who need CT scan repeatedly can bring images valuable for diagnose, and decrease radiation dose against patients.

한국/미국/여성 : 차학경과 민영순의 이산의 정체성

김현주(Hyeon-Joo Kim) 현대미술사학회 2001 현대미술사연구 Vol.13 No.-

The meaning of 'Home' and the identity have been emerged one of the most significant themes among the Asian American women artists during the past ten years. In most of their works the artists inquiry 'what is home?', 'where is my home?' The questions relate to 'who am I?'. Home also has been problematized to the women much more than men as the place and concept in the feminist consciousness. In this article, I focus two Korean American women artists, Theresa Hak Kyung Cha(1951-1982) and Yong Soon Min(1953-), and explore how their own identities have been articulated through the consciousness of the changing notions of home, belonging, ethnicity, and positionality between Korea and the US. Some of Theresa Cha's film and video installations and performance pieces produced in the late 1970s until her sudden death of 1982 are the evidences of her deep engagement to the theme in those early periods. Min is another important artist who has been searching of the new notion of her home and identity in the global diasporic culture. The meticulous analyses of the works of Cha and Min will reveal both artists negated the nationalist concept of home as a pure origin, or a permanent root. This study, instead, will remind the readers of the continuous overlapping of US and Korea in certain parts of modern geopolitical history. In conclusion, these two women artists find their space nither here nor there, but in-betweenness. In the third space, the fixed identity will be denied and replaced by the newly emerged double, or even multiple identities. This discussion will also make the readers realize the homogeneity of Korea and Koreanness is an only fantasy historically constructed as the same as the US's.

1980년대 한국의 ‘여성주의’ 미술

김현주(Kim Hyeon-joo) 현대미술사학회 2008 현대미술사연구 Vol.23 No.-

The history of feminist arts in Korea has now exceeded twenty years. Writing the history of feminism implies cultural discussions as well as activist movements for women’s rights. So is the case of writing the history of feminist art. Most Korean art historians wrote that the feminist art of 1980s was led by the female activist artists engaged with Minjung art, and from the early 1990s, it was substituted by cultural inclinations. Considering that art practices in feminism had begun around the mid eighties, 1980s was a relatively short period in the history of feminist art in Korea. It is the 1980s, however, where we could notice strong resistance and dynamism in the process of adopting the completely new art practices and discourses. Those were the years in which not only old and new terms such as ‘y?ryu misul(여류미술)’ ‘women’s art’ and ‘feminist art’ were vaguely used, but also activist and cultural movements in feminism were confronting and compromising. Most of the studies on art in the 1980s concentrate on ‘Women’s Art’ which were prominent at the time. Refusing to be called as y?ryu(여류) or feminists, the term was designated by the female artists who took part in the activist movement in liberating working class women. As a result, alternative art practice in feminism, whose agendas cover gender differences, femininities, and female sensibilities in mind, was hardly visible. This paper explores alternative feminist art practices in the 1980s which are different from Women’s Art. By bringing an unrevealed exhibition in 1988 「Uri botmur?l t?ja: y?sung heabang-si-wa k?rim?i eu man’nam(우리 봇물을 트자: 여성해방시와 그림의 만남)」to light, this paper proposes it was not unfolded in unilateral dominance of Women Art, as it was discussed in most previous studies. On the contrary, this study discloses that more than one voice was conflicting during the period. The exhibition was organized by “Alternative Culture”, also known as “Tomoon”, a feminist group which was founded in 1984. It was realized through one year of collaborations among four female artists, Suknam Yun, Tjinsuk Kim, Youngsook Park and Jungyop Chung and female poets of Tomoon. Main subjects of this exhibition entail the reality of women’s subjugation, the awareness of self and feminist consciousness, and the practice of women’s liberation through experienced maternity and the bond of sisterhood. These were all ‘women problems’ proposed in the feminist cultural movement during the 1980s, and the four women artists tried to interpret poems, exploring to find unique ways to visualize them. The positions that the four artists took were different from those of male artists who did not accept the differences of women and men, and from the ones of female artists who ignored the differences among women as well. Even though it failed to attract attention, the exhibition has a profound significance because it is both the earliest fruition of cultural collaborations among feminists in other fields and a proof of alternative feminist art practices. Nevertheless, this exhibition has been neglected for twenty years. This paper discusses the exhibition in scrutiny, suggesting another mapping of 1980s’ feminisms in art. In conclusion, it makes clear that the different levels of feminisms in art coexisted in the 1980s - one is the Women’s Art engaged into the women’s liberation movement in particular circumstances in Korea, and another is the feminist art intervened to cultural transformation with the awareness of gender differences.

한국현대미술사에서 1980년대 ‘여성미술’의 위치

김현주(Kim Hyeon-joo) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.26 No.-

The Korean Women’s Art movement was established in the mid-1980s by a handful of female artists who were conscious of women’s issues. From the working class women’s perspective, they pursued for social acceptance of gender equality and greater political activism from the female community. The Minjok Misul Association was created as an umbrella organization of the Minjung Art movement of the 1980s. The Women’s Art Division was established under the Minjok Misul Association by 11 female artists in 1986, and renamed the Women’s Art Society in 1988 to clarify its identity as a group which sought for gender equality and social changes from a working class viewpoint. For 8 years(1987-1994), the members of the Women’s Art Society gave voice to their message through a variety of means to include the 《Women and Reality》 annual provincial exhibition tours, the Gulgai paintings by the “Doonggi” group, and the cartoons by the “Miyal” group. All these works were produced under the title of ‘Women’s Art’. The artists unfolded their activities in affiliation with both radical women’s social movement groups and the Minjung art movement. By the 1990s, feminist art discourses emphasized postmodern cultural issues resulting in the decreased focus on women’s activism and the working class women’s problems. It has been generally accepted that the Women’s Art Society of the 1980s only scratched the foundational surface of feminist aesthetics, but created the building blocks for the feminist art of the 1990s. Unfortunately, the Women’s Art Society is considered as merely an appendix to the Minjung Art. To make matters worse, the Women’s Art Society has been marginalized by both the feminist discourse of the 1990s and the Minjung Art movement. I will prove that the Women’s Art Society has been gradually excluded from the history of Korean contemporary art due to the Minjung Art’s community minimizing the Women’s Art Society’s contributions to the Minjung Art’s theories, publications, and exhibitions, and feminists decreasing the importance of the Women’s Art Society.

미국의 페미니스트 미술과 인종문제

김현주(Kim Hyeon-Joo),심상용 현대미술사학회 1998 현대미술사연구 Vol.8 No.-

일본군위안부역사관

김현주(Kim, Hyeon-joo) 현대미술사학회 2010 현대미술사연구 Vol.0 No.28

대학생의 양성평등의식과 자아존중감, 스트레스와의 관계분석

김주현(Kim, Joo-Hyun),최경혜(Choi, Gyeong-Hye),박복순(Park, Bock-Soon),윤성자(Yoon, Sung-Ja),김현주(Kim, Hyeon-Ju),장경실(Jang, Kyoung-Shil),최형진(Choi, Hyung-Jin),김경희(Kim, Kyung-Hee) 대한근관절건강학회 2017 근관절건강학회지 Vol.24 No.3

Purpose: This study was attempted for the purpose of grasping the relationship between gender equality consciousness, self-esteem, and stress in university students. Methods: This study was based on a questionnaire survey with a total of 287 university students. Data were collected from March 5 to March 31, 2013. A survey questionnaire was used to measure demographics, gender equality consciousness, self-esteem and stress. Data were analyzed using SPSS/Win 23.0 version. Results: The average of gender equality consciousness stood at 3.14±0.34. The higher gender equality consciousness led to more significant correlations with self-esteem (r=.229, p<.001) and stress (r=-.258, p<.001). Conclusion: It can be considered that there is a need to develop an education program available for reducing stress and for improving self-esteem by increasing university students gender equality consciousness.