“상자 이야기” 이지향 개인전

이지향 현대건축사 2002 (월간)Maru Vol.- No.5

“상자 이야기” 이지향 개인전

이지향 현대건축사 2002 마루 Vol.- No.5

學校體育 施設용구에 관한 硏究

이지향 효성여자대학교 사범대학 학도호국단 1983 師大論壇 Vol.2 No.-

啓膈散의 抗癌 및 免疫反應에 關한 實驗的 硏究

李芝香,柳逢夏,朴東源,柳基遠 대한한방종양학회 1997 대한한방종양학회지 Vol.3 No.1

In order to investigate the effect of Kyegyoksan on antitumor effects after Sarcoma 180 cells transplantation into the peritoneal cavity or left groin in mice, and immune depression in mice induced by methotrexate, the extracts of its herbal medicines were orally administered for 14 or 21 days. Experimental studies were performed for measureance of IC_50 in MTT assay, mean survival days, tumor and body weights for antitumor effects, delayed type hypersensitivity, hemagglutinine titer, hemolysin titer, rosette forming cells, interleukin-2 productivity, lymphocyte transformation, natural killer cell activity and phagocytic activity for immune responses in the immune depressed ICR mice, and SGOT, SGPT, BUN and creatinine for liver and kidney protective function in SD-rats. The results were obtained as follows ; 1. From the results of MTT assay, the Kyegyoksan exstracts for SUN-1 and SUN-C4 were inhibited cell viability. 2. Mean survival time in Kyegyoksan-treated group was slightly increased with no effectiveness, as compared with the control group. 3. Tumor weight in Kyegyoksan-treated group was depressed with the statistical significance, as compared with the control group(P<0.01). 4. Body weight in Kyegyoksan-treated group was incresed with the statistical significance, as compared with the control group(P<0.05). 5. Delayed type hypersensitivity in Kyegyoksan-treated group was slightly incresed with no effectiveness, as compared with the control group. 6. Hemagglutinin titer in Kyegyoksan-treated group was incresed with the statistical significance(P<0.05), bur hemolysin titer was slightly incresed with no effectiveness, as compared with the control group. 7. Rosette forming cell in Kyegyoksan-treated group was incresed with the statistical significance, as compared with the control group(P<0.001). 8. Interleukin-2 productivity in Kyegyoksan-treated group was incresed with the statistical significance, as compared with the control group(P<0.001) 9. Lymphocyte transformation in Kyegyoksan-treated group was incresed with the statistical significance, as compared with the control group(P<0. 01) 10. Natural killer cell activity in Kyegyoksan-treated group at E/T ratio 100:1 was incresed with the statistical significance(P<0.01), but at E/T ratio 50:1 and 10:1 was slightly incresed with no effectiveness, as compared with the control group, 11. Phagocytic activity in Kyegyoksan-treated group was incresed with no effectiveness, as compared with the control group. 12. The levels of serum glutamic oxalacetic transaminase, serum glutamic pyruvic transaminase, blood urea nitrogen and serum creatinine in Kyegyoksan-treated group were not effective change, as compared with the control group. According to the above results, it could be suggested that Kyegyoksan have prominent antitumor effects, enhance both cellular and humoral immunity, and have no injury to liver and kidney functions.

A study on the Cultural Character of Russian Ballet

이지향 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-

The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as Ballet Russes' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called neoclassical ballets'or Ballet Russe'overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well bala...

지역사회정신보건프로그램이 정신장애인의 사회통합에 미치는 영향

이지향 한국정신건강사회복지학회 2005 한국정신건강사회복지학회 학술발표논문집 Vol.2005 No.5

脾胃病證의 治療處方에 關한 文獻的 考察

李芝香,朴東源,柳基遠 대한한의학회 1992 대한한의학회지 Vol.13 No.1

Synthesis of Novel Polyurethane Containing Nitrothiazolylazoresorcinoxy Group as NLO Chromophore

이지향,이주연 한국고분자학회 2015 한국고분자학회 학술대회 연구논문 초록집 Vol.2015 No.4

뮤지컬 산업의 저작권 계약방식 및 경제적 보상실태 분석

이지향,소병희 한국문화경제학회 2010 문화경제연구 Vol.13 No.2

본 논문에서는 뮤지컬 산업에서 나타나는 저작권 관련 문제들 중에서 최근 중요시되고 있는 공연예술 분야의 저작권 계약체계와 경제적 보상에 관해 제작자와 저작자를 대상으로 실시한 실태조사 결과를 분석하여 공연예술분야의 저작권 문제의 이해를 돕고 그 해결을 위한 제언을 도출하고 있다. 먼저, 여러 예술분야로 구성된 종합예술인 뮤지컬의 제작과정을 다이아그램으로 나타내어 각 단계에서 발생하는 저작권을 체계적으로 분석한다. 서베이 결과에 의하면, 계약 당사자들의 저작권에 대한 인식이 부족하여 제작자의 우월적 지위 남용이 의심되는 계약이 없지 않았던 것으로 나타났다. 또한, 저작물에 대한 적절한 경제적 보상수준의 검토가 필요할 것으로 파악되었다. 그러므로 표준화된 계약서를 활용하도록 관계기관에서 홍보하고 권장하는 것이 공연산업에서의 저작권 문제 해결의 첫 단계라는 점을 지적했다. 공연예술 분야에서도 저작권 관련분쟁이 많이 발생하고 있으므로 저작권문제에 대한 공정하고 현명한 해결이 공연예술 산업의 발전을 위한 선결과제임을 지적했다.

뮤지컬 산업의 저작권 보호에 관한 인식과 요인 분석

이지향 한국저작권위원회 2010 계간 저작권 Vol.23 No.3

본 논문에서는 공연예술 분야에서 나타나는 저작권 관련 문제들 중에서 최근 관련 시장의 급격한 확대와 공연예술시장의 절반 이상을 차지하고 있는 뮤지컬 분야의 저작권보호에 관한 인식과 요인을 제작자와 저작자를 대상으로 실시한 실태조사 결과를 통해 분석하여 공연예술분야의 저작권 문제의 이해를 돕고 그 해결을 위한 제언을 도출하고 있다. 저작물의 침해와 보호에 관한 분쟁은 결과적으로 법학적 기반 위에서 해결 될 수밖에 없기 때문에 여러 예술분야로 구성된 종합예술인 뮤지컬 저작물의 법률적 성질을 저작권법과 기존 판례를 통해 조사하였다. 설문조사 결과에 의하면, 뮤지컬 전문종사자들은 최근 뮤지컬 시장의 확대에 따라 기대수익이 높아지면서 저작권에 대해 더욱 중요시 여기게 되었고 제작자와 저작자들의 인식이 강화되면서 저작권의 중요성을 인식하게 되었음을 본 연구를 통해 알 수 있다. 결국 이해 당사자들이 저작권에 대한 인식이나 이해도가 부족하여 저작권 관련 문제들이 발생하는 것으로 판단할 수 있겠다. 그리고 전문 종사자들은 저작권 관련 교육의 필요성을 느끼고 있는 것으로 조사되었고 저작권의 이해도를 높이면 인식이 강화된다는 점이 검증되고 있다. 저작권에 대한 이해도가 높아지고 인식이 변화하면 더욱 명확하고 합리적인 이해당사자 간의 관계형성이 구축 되게 된다. 이로 인해 저작권의 기능과 역할이 증대되어 작품의 질적 향상을 가져오게 되면 결과적으로 저작권법의 궁극적 목적인 공연문화산업의 발전을 도모할 수 있게 된다. 뮤지컬 저작권 관련 교육을 통한 인식강화와 이해도 증대는 공연예술 분야의 저작권 문제 해결의 첫 단계라는 점을 지적했다. 저작권에 대한 인식강화와 이해도를 확대시키고 이용허락계약의 체결방식, 표준계약서 작성이나 보급, 그리고 저작권료기준제시 등의 실무적 사항들을 조언하고, 교육시켜줄 전문기관의 필요성을 제기했다.