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Nimesulide와 복합성분 제산제의 약제학적 상호작용
정수진,양성희,최선,김순주,황보신이,이승우,김정호 韓國病院藥師會 2004 병원약사회지 Vol.21 No.3
Nimesulide (NSAIDs) is often prescribed with antiulcer agents such as antacids or H2 receptor blockers to reduce the stomach irritation. We found that when nimesulide was compounded to powder with an antiulcer agent, composed of ranitidine, magnesium oxide, aluminum magnesium silicate and aluminum magnesium hydrate, the compounded powder's color was changed to hard yellow. So this study was planned to verify the pharmaceutical interaction between these two agents and to evaluate the clinical importance of this interaction. Nimesulide and antacid complex were triturated together by the ratio of 1:1 and 2:1 as the object. We measured the change of the powders color, contents of the main composition, pH and moisture content according to the compounding time and the storage period. For the compounding time, the experiment conditions were triturating each other separately then mixing, triturating together for 1, 3 and 5 minutes. The storage periods were 0, 1, 3, 7, 14, 21 and 28 days respectively. Compounded powder's color was considerably changed to yellow according to increase of the compounding time and the storage period. Though the color was changed, there was no relationship among the compounding time and contents of the main composition, pH level or moisture content (F0>F (1, 2; 0.05)). Also storage period didn't affect those factors(F0>F (1, 5; 0.05)). According to our results this pharmaceutical interaction did not alter the effect of each agent, and it was considered to be the tolerable incompatibility.
중일전쟁(1937-1945) 시기 소수민족 소재의 사생화
정수진 미술사학연구회 2022 美術史學報 Vol.- No.59
The outbreak of the Second Sino-Japanese War in 1937 forced artists to face the brutal reality of warfare and spurred the expansion of realism in the arts in China. Meanwhile, the Japanese invasion brought a great deal of attention to the northwest provinces of China, such as Gansu (甘肅). During this national crisis, the northwest region emerged into the spotlight as the rearmost zone of combat, the cache of natural resources, and a hub of Chinese culture. Numerous cultural figures were attracted to the region as it became more widely recognized. Artists were no exception in this trend. Experience in the northwest region was a crucial opportunity for young painters of the 1940s, including Zhao Wangyun (趙望雲), Guan Shanyue (關山月), Wu Zuoren (吳作人), and Dong Shiwen (董希文), to establish their painting styles and launch into their debuts as artists. These artists began to incorporate certain characteristics of Chinese painting into their own work, such as emphasized delineation and flat coloring techniques, which they imbibed from studying the Dunhuang murals. More than that, they sought a breakthrough in the arts, using bright and vivid colors drawn from the climate and costumes of ethnic minorities. Painted from life in the local northwestern regions of China, the work of these artists gave visual representation to the land and people of the area, which had been perceived as ambiguous and foreign. Nevertheless, the ethnic minorities portrayed in these paintings were depicted as tradition- preserving individuals living in peace and harmony, notwithstanding any extant direness or threats in their livelihood. The partial depictions of the ethnic minorities is a result of the political concept of the Chinese nation (中华民族), Mao Zedong’s guidelines for literature and art, and internal orientalism in China. 1937년에 발발한 중일전쟁(Sino-Japanese War)은 화가들로 하여금 전쟁을 겪으며 참담한 현실을 직시하게 함으로써 중국에서 사실주의회화가 확산하는 계기가 되었다. 한편 간쑤(甘肅) 등 서북지역에 대한 관심이 일본의 침략 이후 크게 고조되었다. 국가의 위기 상황에서 서북지역은 전쟁에 저항할 최후의 후방이자 경제적으로는 천연자원의 보고(寶庫) 그리고 문화적으로는 중국문화의 원천으로 떠올랐다. 이러한 인식이 확산되면서 다수의 문화계 인사들이 이 지역을 방문하여 다양한 기록을 남기기 시작하였으며 화가들 또한 그 열풍에 참여하였다. 자오왕윈(趙望雲), 관산웨((關山月), 우쭤런(吳作人), 둥시원(董希文)을 비롯한 동시기 젊은 화가들에게 1940년대 서북지역의 경험은 자신의 화풍을 정립시키는 기회였으며 이후 미술계에서 등단 수단의 역할을 해주었다. 이들은 둔황의 벽화를 임모하며 중국적 특질로 찾아낸 선묘의 중시와 평면적인 채색 기법 등을 자신들의 작품에 사용하기 시작하였다. 그리고 변방의 뜨거운 햇살과 소수민족 의상의 밝고 선명한 색채를 채용한 화풍으로 화가로서 새로운 돌파구를 찾았다. 현지에서의 사생 작업으로 이루어진 이들의 작품은 모호하고 추상적인 이역(異域)으로 인식되던 서북지역과 지역민을 구체적으로 시각화하였다. 그러나 이 작품들에서 서북의 주민들은 소수민족의 전통을 고수하며 평화롭고 풍요롭게 살아가는 이미지로 묘사되었을 뿐 극심했던 생활상의 고난은 드러나지 않는다. 이는 이 시기 확산된 중화민족이라는 정치적 개념, 마오쩌둥의 문예 지침 그리고 내부 오리엔탈리즘의 정서가 혼합되어 나타난 결과이다.