불임의 진단 및 치료를 위한 자궁내시경의 역할

이보연,이병석,박기현,조동제,송찬호 대한산부인과학회 1992 대한산부인과학회 학술대회 Vol.69 No.-

Efficacy of Add-back Therapy with Tibolone for Prevention of Bone Mineral Density Loss in Women Treated with GnRH Agonist for Endometriosis

이보연,김흥열,정민형,지용일 대한골다공증학회 2009 Osteoporosis and Sarcopenia Vol.7 No.1

Objectives: To determine the effect of tibolone add- back therapy for prevention of bone mineral density loss in women treated with GnRH agonist for their endometriosis. Methods: Medical records of 179patients who had been given a laparoscopically or pathologically proven diagnosis of endometriosis and finished the 6cycles of goserelin acetate 3.78mg treatment were reviewed retrospectively. Twenty five patients were excluded because either or both pre-and post-treatment bone mineral density(BDM) examination was not carried out. The BMD of the lumbar spine(L1-L4) and femur neck was measured by dual energy X-ray absorptiometry two times(Pre- and post-GnRH agonist treatment). Tibolone add-back therapy was given to 97patients and remaining 57patients were not received. Results: The mean age was 40.61±6.89years and mean body mass index was 23.43±3.14(kg/㎠). Comparing to pretreatment value, the mean decrease of BMD of lumbar spine and femur neck in without add-back group and with add-back group was 0.060±0.024 and 0.047±0.022, respectively. The mean decrease of BMD of lumbar spine was prevented significantly in add-back group(P=0.044). Conclusions: Tibolone add-back therapy could prevent BMD loss occurs during 6 cycles of GnRH agonist treatment especially in lumbar spine.

생식내분비학 : 반복유산의 원인과 치료

이보연 대한산부인과학회 2004 교육강연 Vol.2004 No.-

경피적 에스트로젠을 이용한 폐경기증후군의 치료

이보연,정미정,박기현,이병석,조동제,황동훈,송찬호 中央醫學社 1992 中央醫學 Vol.57 No.4

To evaluate the clinical effects of transdermal estrogen replacement therapy in postmenopausal women, especially cardiovascular effect by change of serum lipid profiles after the treatment, 32 postmenopausal women - 18 natural menopausal women, 14 women with premature ovarian failure - were studied before and after 6 8 weeks of treatment withE2 containing transdermal therapeutic systems. 1. The postmenopausal symptoms were improved or disappeared in all cases. 2. Significant changes of serum LDL level, HDL/LDL ratio were noted. 3. The side effects of transdermal estrogen replacement therapy were noted with skin eruption (7 cases), vaginal spotting (3 cases) and breast pain (2 cases), but no discontinuation of the treatment was resulted. This study was concluded that the transdermal estrogen replacement therapy was effective on the prevention of cardiovascular diseases in postmenopausal women.

중화민국 후기 미술정책과 미술학교의 대응 발전: 1927-1949

이보연 한국예술교육학회 2018 예술교육연구 Vol.16 No.1

This article reviews the relationship of two major structures in the late Republic of China, the art policies of the Nationalist Government of China and art schools in relation to the key developments and characteristics of the late Republic of China and the field of art. After the Nationalist Party unified China through the National Revolution in the late 1920s, the party began to establish a powerful governing system. Since then, the revolutionary directions of the early government began to shift towards a ruling direction, and the art policies also shifted from the liberalism of aesthetic education ideologies to the instrumentalism based on the Three Principles of People of the right wing. Such changes influenced the operation and direction of art schools of the late republic. First, the National Art School in Hangzhou was founded during the early establishment of the government, and engaged in art activities reflecting the academic status and age art against the government based on liberalism, however, its activities were oppressed due to the relationship with left wing art. The more traditionalism oriented National Art School in Beiping shifted towards pragmatism due to pressures of the government, but its activities became inactive due to frequent policy changes and the Sino-Japanese War. The art community of the National Central University, which pursued academism based on realism, and the National Art School in Beiping found harmony with the government's literary ruling direction becoming the best art school in the late Republic of China, and as a result, undertook the leading role in establishing a new national art and in the reforming the art community based on the new national art. However, the ruling of art by the Nationalist Government failed to establish a consensus on ideology and the government's level, and such failure lead to the government's biggest achievement, the realistic academism, becoming the Communist Party's spoils from the Chinese Civil War, not the Nationalist Government or the art schools. 본 논문은 중화민국 후기 미술 발전의 대표적 두 기제(機制)인 국민정부의 미술정책과 미술학교의 관계를통해 중화민국 후기 미술과 미술계의 주요 발전 맥락과 성격을 고찰한 것이다. 1920년대 후반 국민혁명을 통해 전국을 통일한 국민당은 이후 훈정을 통해 강력한 통치체제를 마련했다. 그에 따라 초기의 혁명노선은 점차통치노선으로 전환되고, 미술정책 역시 애초에 자유주의 성향의 미육이념에서 우파 삼민주의에 근거한 도구주의 노선으로 변화했다. 이러한 변화는 민국 후기 미술학교들의 운영과 위상에도 다음과 같은 영향을 끼쳤다. 먼저 정부 수립 초기자유주의 이념에 근거해 창설된 국립항저우예전은 정부에 맞서 순수예술의 학술적 위상과 시대예술을 주장하고 예술운동을 전개했으나, 좌익미술과의 연관으로 인해 탄압을 받게 되었다. 전통주의 성향의 국립베이핑예전은 정부의 압박 하에 실용주의 노선으로 전환했으나, 정책의 잦은 변동 및 중일전쟁으로 인해 침체되었다. 반면 사실 기법의 아카데미즘을 표방한 중앙대학 예술계와 내전 시기 국립베이핑예전은 정부의 문예통치 노선과조화를 이루어, 사실상 민국 후기 최고 미술학부로 부상해 새로운 민족미술 수립과 그것을 중심으로 한 미술계재편에 앞장섰다. 그러나 국민정부의 이러한 미술통치는 이념과 정권 차원에서 합의를 이뤄내지 못한 결과, 그 최대 성과인사실주의 아카데미즘은 국민정부도 미술학교도 아닌, 국공내전에서 승리한 공산당의 전리품이 되었다.

소송 장기화 현황 및 개선방안에 관한 연구

이보연 경상국립대학교 법학연구소 2023 법학연구 Vol.31 No.1

헌법 제27조 제3항은 “모든 국민은 신속한 재판을 받을 권리를 가진다”고 규정한다. 이를 구체화하기 위하여 민사소송법 등이 판결선고기간을 명시하고 있으나, 법원과 헌법재판소는 훈시규정이라는 입장을 고수하고 있다. 최근 들어 소송절차 지연 문제가 심화하고 있다. 2022년 사법연감에 따르면, 지난 10년간 법원에 접수된 전체 사건 수, 민사본안 사건, 형사공판 사건 수는 일정한 수준을 유지하거나 감소하고 있다. 그럼에도 소송처리기간은 증가하고 있으며, 특히 민사본안 사건 중 처리에 2년을 넘기는 장기미제 사건이 큰 폭으로 늘었다. 이렇게 재판이 지연되는 원인에 대하여 소송 건수가 늘어나 법관의 업무부담이 과중하다는 견해가 많다. 통계를 통해 본 바로는 10년 전에 비해 업무부담이 늘었다고 보기는어려우나, 법관들이 느끼는 업무부담이 낮은 수준이라고 판단할 수는 없다. 법관의 사명감 부족, 판사들이 열심히 일할 유인이 사라진 점, 일과 생활 간 균형을 찾으려는 문화의확산, 법원의 관리 부재 등이 재판지연의 원인으로 꼽혔다. 재판지연 문제를 해결하기 위해 대법원은 제1심 민사재판의 단독관할 범위를 확대한다거나, 상고심사제 도입 등 방안을 제시했다. 국회에서는 대법관을 비롯한 법관 정원을 대폭 늘리는 법안, 기일지정 신청이 가능하게 하는 법안 등을 내놓았다. 그러나 이들 대책만으로는 신속한 재판을 받을 권리를 충실히 보장할 수 있으리라고 보기 어렵다. 유럽인권협약은 합리적인 시간 내에 공정한 재판을 받을 권리를 보장하고 있다. 유럽인권재판소는 이러한 권리를 보장하기 위한 판례를 축적해왔고, 회원국들에게도 신속한재판을 받을 권리를 보장하기 위한 효과적 구제수단을 마련하라고 촉구해왔다. 독일은 국내법적 수단을 마련하라는 재판소의 결정에 따라 2011년부터 재판지연법(ÜGRG)을 시행하고 있다. 사법적으로 분쟁을 해결하는 데 지나친 시간이 소요된다면 사법제도의 존재 이유에 의문을 품을 수밖에 없다. 사법행정의 편의와 사법절차의 효율성 측면에 치우친 대책이 아니라, 신속하고 공정한 재판을 받을 국민의 권리를 실질적으로 보장할 수 있는 효과적인입법적 방안을 마련해야 한다.

중국 근대 도안교육의 도입과 본토화 — ‘실업’에서 ‘인본’으로 —

이보연 중국근현대사학회 2022 중국근현대사연구 Vol.93 No.-

China, which entered the modern era with the Opium War and the unequal treaties, promoted industrialization for survival, but various constraints led to imbalances between the machinery industry and the handicraft industry, design and production, and urban and rural areas. While imbalances also appeared in craft education at art schools, in the early period of the Republic of China, Beijing National College of Art first established a design-centered craft education system based on early industrial education in Japan. However, its educational method, which was promoted with the aim of promoting morality and industrial development without thorough ideological enlightenment, was eventually resisted by the New Culture Movement. On the other hand, Hangzhou National College of Art, which was established during the latter half of the Republic of China, continued its design-oriented system, but introduced a French education system and various modernist trends for a more radical aesthetic education, thereby fervently innovating traditional designs while strengthening the creative, scientific and humanistic values of the designs, and emphasizing practicality and popularity. However, due to a government crackdown and the notion of a hierarchical order centered on fine art, it showed the limitations in its development of active knowledge and technology as practical art. In contrast, in the final days of the Republic of China, cooperative projects and handicraft movements arose against the malady of monopoly capitalism and industrial centralization, which had intensified since the end of the Republic of China. During this, Sichuan Art School also overcame design-centered education by attaching itself to this wave and built the foundation for craft design education in the period of the People's Republic of China by establishing humanism as a new ideal.

제 24 차 학술대회 : 18. 소장 장루에 대한 고영양수액 ( 1예 보고 )

이보연,박정길,정동섭,이재학 대한외과학회 1972 대한외과학회 학술대회자료집 Vol.- No.-

중국 후89 미술, 그 성과와 한계: 완세현실주의와 정치팝을 중심으로

이보연 미술사연구회 2013 미술사연구 Vol.- No.27

This study examines the emergence and development of the representative Chinese avant-garde art, Post-89 Art, and analyzes the achievements and limitations it left for Chinese art. Post-89 Art is an art movement that emerged in the late 1980s,which was the period the Chinese society experienced a drastic change between ideal and reality. Among them was Cynical Realism, which became the portrait of Chinese intellectuals after the Tiananmen Incident, portrayed the self-reflection and skepticism against the Idealism of the 1980s. Also, as China entered the age of consumerism without sufficient political reform in the 1990s, Political Pop expressed the phenomena of “significance collapse”arising in the manner of “dissolution of significance.” After the emergence of China’s socialist market economic system, they pushed through with survival and development strategies using the market system, and they have pressured the official(Guanfang) art system and induced system reform. However, they also created various limitations and side effects in the process. Following this statement, this study has observed Post-89 Art has the following achievements and limitations: First,it achieved some degree of pluralization in terms of reform of Chinese art and artistic systems but failed to reach the level of active democratization; Second, it made significant contributions to market development and prosperity in terms of nurturing the artistic system but also hindered the balanced development of Chinese art; Third, although it laid the groundwork for international exchanges by establishing contemporary language,thought and sensibility, their ambiguous and strategic political attitude, which ironically was unlike their political image as shown ostensibly, only generated confusion and critically impairing its significance. Claire Bishop’s article ‘Antagonism and Relational Aesthetics’(2004), on the other hand, suggests the negative feeling such as antagonism should be needed into consideration for the interactive relations, pointing out rather the simplistic and positive articulation of relational aesthetics. ‘Relational Antagonism’ put forward by her is more realistic and complicated concept, which can explain the uneasy but significant meaning out of the works of Stantiago Sierra and Thomas Hirshhorn. This research has been launched for tracing the discursive trajectory of art history and art criticism since the 1980s up to the present. The main topics and key issues brought up by the crucial publications have been highlighted in order to get hold of the mainstreams getting through the multi-layered and diverse art practices during the last three decades.

중화민국 시기 민족주의 미술사학의 전개와 성격 - 傅抱石와 黃賓虹의 사례를 중심으로

이보연 동악미술사학회 2021 東岳美術史學 Vol.- No.29

본고는 중화민국 시기 민족주의 미술사학의 전개와 성격에 대해 고찰한 것이다. 중국 근대 민 족주의가 정치적 보편성을 강조한 정치중심적 민족주의와 문화적 특수성을 강조한 문화중심적 민족주의로 대별된다고 할 때, 푸바오스(傅抱石)와 황빈훙(黃賓虹)은 각각 전후 양자에 속하는 사례였다. 전자는 일본 동양미술사학과 민국 후기 애국주의 항전사학을 토대로 확대-절충의 논 리와 정치화 된 통속주의가 반영된 외향적 민족주의 미술사학을 연구한 반면, 후자는 국수학파 의 재야적 학술관과 금석학에 기초한 필묵 연구를 토대로 자기 개혁을 통한 중흥을 도모하는 내 향적 민족주의 미술사학을 제시했다. 결과적으로 푸바오스의 민족주의 미술사학은 민족적 특수 성과 학술적 논리 등이 희석 동요될 수밖에 없었으나, 비록 통속적 방식이라 하더라도 시대적 보편 성과 소통하는 가운데 민족미술의 존속을 위한 현실적 고민을 제시했다. 또한 황빈훙의 민족주의 미술사학은 상대적으로 학술문화적 입장을 견지해 민족적 개성과 이론적 통일성을 확립할 수 있 었으며, 비록 더 이상 도달하기 어려운 이상적 경지라 하더라도 이후 중화민족이 경계와 긍지로 삼 을 만한 정신적 유산을 제공했다. This paper examined the development and characteristics of nationalist art history during the period of the Republic of China. Fu Baoshi, according to his argument, nationalist art history, influenced by Oriental art history in Japan and patriotic history theory of anti-Japanese war in the late Republic of China, was an externalized nationalist art history reflecting the expansion-oriented logic and politicized exotericism of imperialism. In contrast to Fu Baoshi, Huang Binhong’s views were based on the concept of Chinese studies of the nationalistic school in the late Qing dynasty, as well as the comprehensive academic system of hua xue in conjunction with jing, epigraphy, poetics and the study of calligraphy. It can also be regarded as an internalized nationalist art history that contains mutual intelligibility and reducibility of scholarship, and introspective reflection on tradition. Externalized nationalist art history has given priority to political logic and consequently has followed the universality of the time rather than national individuality. Whereas internalized nationalist art history, which maintained a relatively academic stance, was able to secure a balance that could communicate with the universality of the time based on national individuality.