Tamoxifen에 대한 자궁내막암세포주의 시험관내 반응에 대한 연구

남선희,이권해,이순곤 대한부인종양 콜포스코피학회 1996 Journal of Gynecologic Oncology Vol.7 No.2

$quot;Medroxyprogesterone acetate(MPA) is one of the most commonly used hormonal agents for the treatment of advanced or recurrent endometrial adenocarcinoma. However, the progesterone receptor content of endometrial carcinoma varies directly to the degree of differentiation and inversely with stage of the tumor. Thus one would predict that MPA therapy would be less effective in advanced and poorly differentiated tumors. In addition, MPA has been shown to reduce progesterone receptor content of both normal and malignant endometrial cells, which could result in loss of hormone responsiveness. Tamoxifen, which is often used in breast cancer therapy, has also been used in the treatment of patients with advanced and recurrent endometrial carcinoma. Tamoxifen is known to have some estrogenic effects at low concentration and one of these effects is induction of progesterone receptor both in normal and malignant endometrium. This property has focused interest on sequential or simultaneous use of tamoxifen and MPA in the therapy of endometrial carcinoma. The growth inhibitory effects of MPA and tamoxifen were tested on six longestabilished endomtrial carcinoma cell lines(HEC-1-A, HEC-1-B, RL 95-2, AN3CA, KLE) and on SCHE-1, a new endometrial carcinoma cell line established in our laboratory. MPA and tamoxifen were used in grouth experiments either alone, simultaneously or sequentially. The MCF-7 breast cancer cell line was used as a control. Only 20% reduction in cell number was archieved after 10 days of exposure to the drug, even with the highest MPA concentration tested(10�) in endometrial carcinoma cell lines. But in MCF-7 cells, 60% reduction in cell number was archieved with the same consentration of MPA(10�). Ten days of feeling with 5� tamoxifen produced a 96% reduction in cell number in MCF-7, a 91% reduction in HEC-A, a 88% reduction in HEC-1-B, a 98% reduction inAN3CA and a 71% reduction in KLE cultures. In SCHE-1 cultures a 83% reduction in cell grouth was seen and no viable cells remained in RL 95-2 cultures after 10 days of feeling with a 5� tamoxifen. In AN3CA cultures, simultaneous exposure to 5� tamoxifen and 5� MPA resulted in RL 95-2, HEC-1-A and HEC-1-B cultures, simultaneous use of these drugs had the same effect as tamoxifen alone, whereas in KLE and SCHE-1 cultures a slight additive growth inhibitory effect was observed. All six endometrial carcinoma cell lines resumed logarithmic growth when medium containing tamoxifen was replaced with medium containing MPA. However, in KLE cultures recovery of logarithmic growth under these conditions was slower than that in the other endometrial carcinoma cultures. Our results show that MPA does not have growth inhibitory effects in these endometrial carcinoma cell cultures, whereas tamoxifen has been shown to have potent growth inhibitory effects on progesterone receptor-negative and therefore MPA-resistant endometrial carcinoma cells. These findings are of special importance since patients who are most likely to need adjuvant therapy for advanced or recurrent endometrial carcinoma are those with estrogen receptor and progesterone receptor negative tumors.

溶媒가 指示藥感度에 미치는 影響

南善嬉,文元周,李善珠,河璟熙 효성여자대학교 약학대학 학도호국단 1982 曉星藥誌 Vol.1 No.-

플립러닝 기반 교육 프로그램을 통한 무용 전공 대학생의창의성 계발에 관한 연구

남선희 한국무용예술학회 2024 무용예술학연구 Vol.94 No.1

The purpose of this study is to identify the concept and structure of flipped learning, and to developand apply an educational program to improve the creativity of Korean dance majors. Flipped learning means that learning to transfer knowledge takes place before classroom instruction,and problem-solving process through knowledge utilization occurs in classroom instruction, that is, theuniversal process of teaching and learning is reversed. This study is necessary and significant in that it suggests the direction of dance education in Korea tofoster creative dance talents. The researcher developed and implemented an educational program byexploring in the field applicability, and then conducted experiments, creativity tests, and participantobservation to verify the effect of the educational program on developing the dance majors' creativity. Asa result of the study, flipped learning-based education has found to have a positive effect on thedevelopment of learners' creativity.

김수악 살풀이춤 연구

남선희,김미숙 무용역사기록학회(구 한국무용사학회) 2014 무용역사기록학 Vol.35 No.-

무용 전공 대학생을 대상으로 한 ‘플립러닝’ 적용 사례연구

남선희 한국무용예술학회 2023 무용예술학연구 Vol.93 No.4

The purpose of this study is to develop and apply the flipped-learning education program, and toanalyz the impact on improving learners’ creativity. This study further expands to the direction and tasksof dance education. This study is significant in reminding us of the importance and necessity of danceeducation in the era of fostering creative talent as well as suggesting the direction of dance education inthe future. The research method consists of literature review, case studies, and phenomenological qualitativestudy, and this study conducted TTCT creativity test to assess leaners’ creativity improvement. Thisstudy developed an educational program with a total of 12 sessions, and applied it to dance majors. According to the results, participants showed higher scores in fluency, originality, sophistication,abstractness in title, and resistance to hasty conclusion. These were verified that the program increaseds(enhances) leaners’ creativity.

다원예술 작품의 특성에 관한 연구 -작품 「바이올린 페이즈」, 「마담플라자」, 「아무 일도 일어나지 않는 곳으로의 10번의 여행」을 중심으로-

남선희,조은숙 한국무용예술학회 2019 무용예술학연구 Vol.76 No.4

The form of art is diversified according to the advent of the fourth industrial revolution in which the data for the human and objects are collected and utilized. Focusing on this trend, this study examines the concept and distinct features of pluralism and plural art and analyzes the art works, Violin Phase(2018) by Anne Teresa De Keersmaeker, Madame Plaza(2018) by Bouchra Ouizguen, and 10 matkaa sinne missä mitään ei tapahdu(2019) by collaborated work by Juha Valkeapää and Taito Hoffrén as plural art at National Museum of Modern and Contemporary Art, Korea. Plural art is expanding its fields through in-depth interdisciplinary research. Also, each genre composing plural art works is merged and transcended one, which leads to the dissolution of the genre. Through this discussion, it is very important to count on the present and future of art.

김수악의 진주교방굿거리춤 연구

남선희 영남춤학회 2013 영남춤학회誌 Vol.1 No.1

이 연구는 경남 무형문화재 제21호로 지정되어 있는 진주교방굿거리춤을 지금은 고인이 된 예능보유자 김수악을 중심으로 연구하였다. 이 춤은 현재 진주지역을 대표하는 전통춤으로 진주교방 소속으로 궁중 연회에 참석하였던 최순이가 교방해체 이 후 진주권번에서 춤사범 역할을 하면서 김수악 에게로 전승되었다. 권번 해체 이 후 김수악은 끊임없는 예술 활동의 결과로 1997년 1월 경남도문화재로 지정받았다. 춤을 고찰하는 데 있어서 수반되어진 연구는 다음과 같다. 첫째, 진주교방굿 거리춤의 생성과 발전과정에 관하여 조사하였다. 둘째, 춤을 구성하고 있는 요소인 춤사위, 복식과 소도구, 반주 음악을 조사하였다. 셋째, 선행 연구된 것을 바탕으로 하여 춤의 미적 양상인 질박미(質朴美), 생동미(生動美), 한아미(閑雅美), 풍류미 (風流美)를 연구하였다. 김수악의 진주교방굿거리춤을 연구해 본 결과 이 춤은 과거 진주권번의 춤사 위를 대부분 고수하고 있는 빼어난 춤으로 기본춤으로 췄던 만큼 한국춤의 근간을 이루는 춤사위가 집결되어 있음을 알 수 있었다. 또한 춤이 담고 있는 한국미의 미적 양상을 살펴봄으로써 한국인들의 정신적 가치와 이 춤의 예술적 가치를 잘 알 수 있었다. 그리하여 이 연구는 초대 보유자인 김수악을 중심으로 한 진주교 방굿거리춤의 올바른 전승과 발전에 도움이 되고, 앞으로 이 춤의 연구자들에게 유익한 연구 자료가 될 것으로 기대된다. This study aims to investigate both the aesthetic consciousness of Jinju Gyobang Gutgeory Dance which has been designated as No. 21 of intangible cultural properties in Gyeongsangnam-do and the characteristic of dance with focusing on the cultural properties holder Kim Su-ak (1925˜ 2009) who was a well-known Korean traditional dancer in Jinju. This researches focused on the aesthetic consciousness of dance are as follows: First, this study examines the creation and a progress of development about Jinju Gyobang Gutgeory Dance. Second, it investigates the dancing constituents such as the dancing motion, the dancing costume, tools and the accompanying music, etc. Third, with based on the former studies, it researches the aesthetic shape about the sense of Jilbakmi, the beauty of freshness and vividity, the sense of Hanami and the sense of Pungryu. This dance is made up of widely two parts as a Gutgeory dance with Gutgeory rhythm and a Sogo dance with the Jajinmori rhythm. At the result of a study on the aesthetic consciousness of this dance, we know that it is a excellent dance with sticking to almost dancing motions in Jinju Kwonbeon, which has had influenced on the basic dancing motions of today. And we know this dance has Korean spiritual values and artistic merits, too. I hope this study is helpful in correct complete transmission and development of Jinju Gyobang Gutgeory Dance.

긴급선행기간을 이용한 MRP 시스템

남선희,윤원영 대한산업공학회 1991 산업공학 Vol.4 No.1

춘당 김수악 춤의 전승 양상

남선희 영남춤학회 2019 영남춤학회誌 Vol.7 No.2

This study is about the life and the transmission pattern of her dancing art about Kim Soo-ak, a representative figure who devoted her life to the preservation and the transfer of traditional arts, including Gyobang dance, in Jinju area, which is a repository of Korean folk dances. I divided into institutional, cultural, artistic, and social customs aspects to find out what aspects of the world of her dancing art developed around Kim Soo-ak's life. Based on existing literature data, the research method was used as materials for oral records of Kim Soo-ak, which is housed in the National Institute of Arts, and the testimonies that I heard while learning and interviewed the surrounding persons. Kim Soo-ak practiced her entertainment skills in earnest as she entered Jinju Gwonben at the age of 9. Kim had learned traditional dance through teachers such as Choi Sun-i, Kim Ok-min, Kim Nok-joo and Han Sung-joon, adding to her own artistic qualities. As a result, she were designated as the entertainment owners of the Important Intangible Cultural Property No. 12 Jinju Geommu and the Gyeongnam Intangible Cultural Property No. 21 Jinju Gyobanggutgeorychoom. I research the transmission aspects of Kim Soo-ak's dance divided into institutional, cultural, artistic, and social customs. Kim Soo-ak was a person who boosted her artistic and academic value by transferring Gyobang dance with over 80 years of traditional art spirits in the turbulent times of Korea. As a deep-rooted native artist of Seoul, she was found to have a very important significance in the history of local art. 이 연구는 우리 민속춤의 보고(寶庫)라고 할 수 있는 진주지역에서 교방춤을 비롯한 전통예술의 전승과 보전을 위해 일생을 바친 대표적 인물인 춘당(春堂) 김수악(金壽岳)의 생애와 춤예술의 전승 양상에 대한 연구이다. 김수악의 일생을 중심으로 그의 춤 예술세계가 어떤 양상으로 전개되었는지를 제도적, 문화 예술적, 사회 풍속적 측면으로 나누어 살펴보고 규명하였다. 연구대상은 김수악의 주요작품인 진주검무, 진주교방굿거리춤, 살풀이춤, 논개살풀이춤으로 제한한다. 연구 방법은 국립예술자료원에 소장되어있는 김수악 구술채록문과 본 연구자가 직접 학습하면서 청취한 증언과 주변 인물들의 증언 내용을 자료로 사용하였다. 김수악은 9세에 진주권번에 들어가면서 본격적으로 예능을 연마하였다. 김수악은 최순이, 김옥민, 김녹주, 한성준 등의 스승들을 통해 전통춤을 배우고 본인만의 예술성을 더해갔다. 그 결과 중요무형문화재 제12호 진주검무와 경남무형문화재 제21호 진주교방굿거리춤의 예능보유자로 지정되었다. 김수악 춤의 전승 양상을 제도적, 문화 예술적, 사회 풍속적 측면으로 나누어 살펴보았다. 그 결과 그는 한국 격동의 시대에 80여 년간의 전통 예술혼이 담긴 교방춤을 전승하면서 그 예술적․학술적 가치를 고양시킨 인물이며, 뿌리 깊은 진주의 향토 예술인으로서 지역 예술사적으로 매우 중요한 의의를 지니고 있는 인물임을 알 수 있었다.

진주지역 교방춤 전승 연구

남선희 영남춤학회 2014 영남춤학회誌 Vol.2 No.1

This study looked back the culture of Gyobang and gyobangchoom (dance) in Jinju through Jinju Gyobang to Jinju Gwonbeon and it revaluated the significance of art history about the transmission of Jinju gyobangchoom up to now. Also, it researched gyobangchoom with Kim Su-ak’s testimony, the last artist in Jinju Gwonbeon, and the literatures about the dance and the historical background in Jinju. The artists from the courtesan in Jinju strongly had the self-esteem and the spirit of loyalty to the country for other areas. And they devoted to linking the legacy of Jinju gyobangchoom. As a result, Jinju area compared with other areas has many intangible cultural properties designated as dance events. This is very important thing to the aspect of art history in Korean dance in addition to Jinju area. The versatile supports and efforts to hand down and develop the legacy of Jinju gyobangchoom will be needed. 본 연구는 진주교방을 거쳐 권번으로 이어진 진주지역 교방문화와 교방춤에대해 되짚어 보고, 현재까지 이어지고 있는 진주 교방춤 전승의 예술사적 의의에대해 연구하였다. 연구방법은 진주권번 출신의 마지막 예인인 김수악의 증언과진주지역 춤과 역사적 배경에 대한 문헌을 중심으로 하였다. 교방과 그 후 권번으로 이어진 진주의 교방문화를 지켜온 진주지역 기녀출신예인들은 다른 지역에 비해 자부심이 강하고 나라에 대한 충의 정신이 강하게 자리 잡고 있었다. 그리고 대부분 진주 교방춤의 맥을 잇는데 전념하였다. 그 결과진주지역은 다른 지역에 비해 무형문화재로 지정된 춤 종목이 많이 존재하게 되었다. 이는 진주 지역뿐만 아니라 한국 춤의 예술사적 측면에서 매우 중요한 일이다. 진주 교방춤의 맥이 지속적으로 전승·발전될 수 있도록 다각적인 지원과노력이 필요할 것이라 여겨진다.