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이진아,정복기,정명환,Tae-Hoon Kim,유한상,Bong-Joo Lee 대한수의학회 2014 Journal of Veterinary Science Vol.15 No.3
We evaluated the potential ability of germanium biotite(GB) to stimulate the production of antibodies specific forfoot-and-mouth disease virus (FMDV). To this aim, wemeasured the total FMDV-specific antibody responses andIgM production after vaccination against FMD bothexperimentally and in the field. GB supplementation withFMDV vaccination stimulated the production of anti-FMDVantibodies, and effectively increased IFN-γ and TNF-αlevels. These results suggest that GB may be a novelalternative feed supplement that can serve as a boosting agent and an immunostimulator for increasing the efficacyof FMDV vaccination in pigs.
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아밀리아 러니에의 『유대인의 왕 하느님 만세』 에 나타난 여성적 영성
이진아 한국문학과종교학회 2001 문학과종교 Vol.6 No.1
The purpose of this article is to study Aemilia Lanyei s spirituality and its relationship to the culturally constructed femininity in the early modern period. In $quot;Salve Deus Rex Judaeorum.$quot; Lanyer's religious experiences are very feminine, in terms that they frequently are represented through such female activities as preparing food, birth, lactation, and mirror watching. This means that her spirituality was constructed by the ideas of femininity which were formed by a male-centered culture and supported by religious(Judeo-Christian) ideologies. Lanyei s female spirituality inherits the legacies of religious women in late medieval Europe. whose devotions emphasized the meditation on the passion of Jesus, and the incarnation and the humanity of Christ. Food themes were also located at the heart of their religious practice. To them as well as to Lanyer, the tortured body of Jesus is the bread of life and his blood the drink of life. When crucified Jesus becomes food, he becomes female, because woman's body is often referred to as food. Jesus also became female, when he was clothed in fleshly humanness only from Mary. Incarnate Word. Jesus disturbs the dichotomy of western thought that the man is spirituality and woman is flesh. This dichotomy is again disrupted and man becomes flesh, no better than woman, when Lanyer's passion story as a $quot;mirror$quot; reflects that ignorant. frail and weak men are responsible for Jesus' death. This subversively means that woman, the image of man, not of God, becomes God-like through Jesus, and thus equal to man. The mystery of incarnation also demolishes the boundaries between classes. since Jesus, the heavenly king, humbled himself to be born as one among the low, the weak and the oppressed. Lanyer as a woman from the low class who prepares spiritual food for her patronesses, has stronger affinities with Jesus than her noble readers. Lanyer fully accepts and internalizes the femininity constructed by society and religion, and fashions her female spirituality through that femininity. At the same time she finds in the incarnation and passion of Jesus the subversive powers to go beyond the cultural boundary of femininity and to proclaim the equality between man and woman, and the high born and low born.
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해방전후 위문공연의 연속성에 대한 연구 — 위문대와 군예대를 중심으로
이진아 한국사회사학회 2022 사회와 역사 Vol.- No.136
This article looks at the continuity between performances given for troops in Korea before and after liberation, focusing on military arts troupes and what were known in Korea as “comfort groups”. The comfort groups and military arts troupes toured all over the country, undergoing various transformations and providing the audience with a visual spectacle. The shows praised masculinity through symbols such as disabled soldiers and industrial warriors, while cultivating an anti-communism and enlightenment consciousness. Key aspects of these performances were inherited and reconstructed from the musical theater troupes and the entertainment industry of colonial Joseon, including the human resources, networks, cultural forms. Female entertainers, including gisaengs and waitresses, participated in the comfort groups and military arts troupes. They even raised money for condolences by performing dance and music in the street. This can be seen as service labor in which the female body was involuntarily/voluntarily appropriated to supplement masculinity, creating an everyday culture of “comfort”. 이 글에서는 해방전후 위문공연의 연속성에 대해 위문대와 군예대를 중심으로 살펴보았다. 당시 위문대/군예대는 다양하게 변형되면서 전국 각지에 걸쳐 순회하였으며, 관객들에게 위문연예라는 시각적 볼거리를 제공하였다. 위문공연은 상이군인과 산업전사 같은 기표를 통해 남성성을 찬양하면서 반공사상과 계몽의식을 반복적으로 함양하기도 했다. 이는 식민지 조선의 악극단과 연예계의 인적 자원과 네트워크, 문화 형식 등이 계승되면서 재구성되었던 측면이 존재했다. 위문대/군예대 안에는 기생과 접대부를 포함하는 여성 예인이 참여하였다. 그녀들은 무용과 음악을 통해 위문연예를 수행하면서, 가두에 진출하여 위문금까지 모금하여 헌납하였다. 이는 일상적인 차원에서 위문하는 문화가 생성되면서도, 남성성을 보완하기 위해 여성 신체가 비/자발적으로 전유되었던 서비스 노동으로 볼 수 있을 것이다.
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이진아 한국사회사학회 2024 사회와 역사 Vol.- No.141
이 연구는 베트남전쟁 위문편지를 둘러싼 담론과 현실에 대해 살펴보았다. 당시 위문편지는 여학생, 가정부인, 연예인, 일반인 등이 비/자발적으로 작성하였는데, 베트남전쟁에 참전했던 파월장병 등으로 표현되는 익명의 한국 남성을 향해 발신되고 있었다. 지금까지 잘 알려지지 않았던 위문편지의 실제 내용과 발신자, 수신자에 대한 자료를 통해 위문편지의 상호교환이 행위자의 개인적인 차원이 아니라 사회적인 차원에서 수행되었다는 점을 논의하였다. 위문편지를 쓰는 한국 여성은 위문편지의 형식과 문체 등에서 여동생/어머니/연인이라는 주체 위치에서 발화되었다. 한국 여성/남성에게 위문편지를 매개체로 하나의 국민 혹은 민족이 상상적으로 구성되는 담론의 효과가 생산되었던 것이다. 그렇지만 베트남전쟁 위문편지는 파월장병의 입장과 목소리를 통해 담론과 현실 사이에서 일정한 간극이 드러나기도 했다. This study examines the discourse and reality of Vietnam War consolatory letters. At the time, consolatory letters were written involuntarily/ voluntarily by female students, housewives, celebrities, and ordinary people, and were sent to anonymous Korean men addressed as Soldier Powell, who participated in the Vietnam War. Through data on the actual contents of the consolatory letters and the sender and recipient, which were not well known until now, it was discussed that the mutual exchange of consolatory letters were carried out at a social level, not at the personal level of the actors themselves. Korean women writing consolatory letters were written from the position of sister/mother/lover in the format and writing style of the consolatory letters. For Korean women and men, a discourse in which a nation or nation was imagined through the medium of these letters. However, the figure of Soldier Powell revealed a gap between discourse and reality.
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