습식화학법으로 제조된 PbTiO₃전조체의 결정화에 관한 분광학적 연구

백선화 嶺南大學校 1991 국내석사

우리 나라 초ㆍ중ㆍ고 여학생의 초경 실태에 관한 연구

백선화 경희대학교 행정대학원 2004 국내석사

<숙향전>의 공간이동 양상과 그 의미

백선화 서강대학교 교육대학원 2007 국내석사

Bacillus methylotrophicus CBMB205에 의해 생산되는 박테리오신의 항균활성 및 물리화학적 특성

백선화 창원대학교 2017 국내석사

Bacterial isolates from various fermented foods were grown in MRS or Luria-Bertari broth at 37℃ or 30℃. Supernatants of their culture broth collected by centrifugation were tested for antibacterial activity by agar well diffusion method. One isolate showed relatively broader antibacterial activity against Gram-positive bacteria and Gram-negative bacteria such as Listeria monocytogenes, Bacillus cereus, Enterococcus faecium, Micrococcus luteus, Staphylococcus aureus subsp aureus and Shigella boydii. This isolate was finally selected for further study. It was identified as Bacillus methylotrophicus CBMB 205 based on the 16S ribosomal RNA sequence analysis. The scanning electron microscopy showed that B. methylotrophicus strain was rod-shaped bacteria. Using the PCR, Bacillus methylotrophicus CBMB205 had no enterotoxin genes such as hbl A, C, B, D, nhe A, B, C and ent FM. The antibacterial activity disappeared by the treatment of supernatant with α-chymotrypsin, proteinase K and subtilisin A, indicating antibacterial substance is a bacteriocin. Heat treatment at 80℃ for 90 min had no effect on antibacterial activity. Antibacterial activity was retained at the pH range from 5.0 to 12.0. At 80% concentration of solvents such as acetone, acetonitrile, methanol, ethanol and 2-propanol did not affect antibacterial activity. Antibacterial activity was resistant to 0.05% detergents like Triton X-100, 114, Tween 20, 80 and N-lauroylsarcosine. It was confirmed that the mode of action of bacteriocin produced by B. methylotrophicus CBMB205 against L. monocytogenes was bacteriostatic. In dose-dependent sensitivity of concentrated supernatant against the test organisms, E. faecium was the most sensitive. The half minimum inhibitory concentration (MIC50) against E. faecium, M. luteus, L. monocytogenes and S. aureus was 0.1, 0.5, 1.0 and 3.0 ㎎/㎖, respectively. The bacteriocin was purified through 2-propanol concentration, Sep-Pak C18 column, gel filtration and RP-HPLC. The molecule weight of the purified bateriocin was determined to be 7.3 kDa by MALDI-TOF mass spectrometry.

고등학교 고전소설 교육의 문제점 : 18종 문학 교과서를 중심으로

백선화 경상대학교 교육대학원 2007 국내석사

This study aimed to find out the current education for classical novels and targeted for analysis 18 types of literature textbooks for high schools, which are in-depth textbooks, as well as a reference book for teachers, and various problems were found through the study. The teaching of classical novels needs to start from making learners feel close to classical novels and interested in them. However, the education for classical novels shown in the textbooks and the reference book for teachers reviewed so far stresses the decipherment of language or features of genre and the background of the authors of the times in order to overcome the historical distance between the works and the time they are read. We often misunderstand this as an entire goal of teaching classical novel. Except for students majoring in classical novels, it cannot be seen as appropriate to target this education on high school students. It is necessary to start teaching classical novels to students from the perspective of the literary experience from participating in the study by themselves. In order to pursue the correct education of classical novels under the goal of a literary education, it would be better to take the easiest method from the start. By making students encounter classical novels often, understand them, and be deeply impressed with them, it would be possible to overcome their difference in views caused by the historical distance between the works and the students. Given the above, the direction of desirable education for classical novels may lie in cultivating learners’ literary ability that enables them to reinterpret classical works from a contemporary perspective. Ultimately, the aim is to make learners reorganize their lives by themselves while understanding the life and emotion of their nation. This may suit the goal of the literature subject in the curriculum. If the status of the education of classical novels as well as the quality of education becomes enhanced as many improvements and teaching methods for the education of classical novels are offered, and it would be possible to teach learners the unique taste and charm of our literature not as stagnant education but as living education.

朝鮮時代 後期 肖像畵에 關한 表現樣式 硏究

白善花 경기대학교 교육대학원 1998 국내석사

초상화(肖像畵)란 인물의 형(形)과 영(影)을 화면에 형상화(形象化)한 회화를 말한다. 이 초상화는 인물화의 한 부분으로 간주되며, 인물은 옛부터 회화의 주제가 되어 제작되어 왔다. 이는 인간의 생활에서 늘 접촉하는 것이기에 지극히 자연스러운 것이다. 초상화의 제작은 감계적(鑑戒的)이고 정치적(政治的)인 목적과 교화(敎化)를 목적으로 만들어진 것이 대부분이다. 더욱이 조선시대(朝鮮時代)에 와서는 충효(忠孝)를 중시하고, 유교적(儒敎的) 정치 사회 구현의 일환으로 초상화가 널리 이용되었다. 조선 후기에 와서는 실학사상(實學思想)이 대두하여 자율적 욕구에 의한 사의표출(私意表出)이 가능하였고, 새로운 기법의 시도가 행하여져 초상화 제작이 더욱 활발하여졌다. 그리고 전통적인 한국의 전신법(傳神法)이 사용되어 다른 회화의 방면과는 달리 중국 초상화의 영향이 적은 것이 눈에 띄어 더욱 연구의 대상으로 필요로 한다. 따라서 우리 민족의 솔직한 정감과 미의식을 표현한 이 시대 초상화의 상용 형식 및 변천과정을 정리하여 시대적 성격을 구별하고, 유형별 특색에 따른 화사들의 작품 세계를 살펴보고자 하였으며, 전통(傳統) 초상화법(肖像畵法)을 표현양식(表現樣式)과 기법측면에서 여러 참고문헌과 실제 초상 작품을 대조(對照)·분석(分析)하면서 본 논문을 연구하였다. 조선시대 초상화의 시대적 배경과 조선시대(朝鮮時代) 후기(後期) 초상화(肖像畵)의 특성을 고찰해 본 결과 다음과 같다. 조선시대 초상화를 제작함에 있어서 초상인물(肖像人物)의 어느 다른 부분보다도 특히 안면(顔面)을 위주로 강조(强調)하였고, 또한 초상인물이 지니는 의(意)와 기(氣)를 묘사(描寫)하는 것에 막중한 비중(比重)을 두었다. 안면(顔面)의 방향은 좌안 8·9분면의 초상화가 대부분이었다. 인물초상의 손은 거의 옷으로 가리워져 보이지 않으며 의습(衣褶)은 선묘가 부드러우면서 복잡하게 묘사 하였다. 조선 전기에 비해 전신상(全身像)보다는 반신상(半身像)이 많이 제작되었으며, 전신상의 경우 의좌상(椅坐像)보다는 평좌상(平坐像)이 많이 그려졌다. 배경은 반신상에서는 볼 수 없고, 전신상에서만 묘사(描寫)되었다. 조선 중기부터 받아들여진 서양화법(西洋畵法)을 후기에 이르러 운염법(暈染法)과 조화시켜 육리문(肉理紋)이라는 초상화(肖像畵) 기법을 창안(創案)하며 한국적인 초상화를 창의적(創意的)으로 토착화(土着化)하였다. 조선시대의 초상화에서는 왜곡(歪曲)·변형(變形)을 통한 실제인물 이상의 회화적 효과도, 또한 특징의 강조와 의도적 과장도 찾기 어렵다. 오로지 실제 인물에 접근하기 위한 노력으로 독창적(獨創的)인 화풍을 이루어 내었다. A portrait is a painted figure which shows the form and shadow of a specific character, usually a person. A portrait is regarded as a part of figure painting and is painted as the main subject. This means that the human face is the most easily accessible subject in man's surroundings. Most portraits were painted for instructive and political purposes. More over, up to the beginning of the Choseon, the portrait was widely used as a part of symbol of the confucian government society and the importance of loyalty. In the later part of the Choseon dynasty, it was possible for the common people to express their gratitude and ideas freely by because a Realism became powerful and it led to the painting of the portrait by a new technique. Compared with any other picture in Korea, portrait paintings has some traditional traits called "Jeon Shin" which were very little effected by China so more profound studies are wanted. To come to an understanding of the development of portrait paintings in Korea we need to discriminate the painting characteristics of those days. This is the main topic of this paper. This will be done by examines many referenes works and contrast many real portraits. It follows that the results which I will come to are based on Korea portraits and characteristics of these portraits in the latter portion of the Choseon dynasty. Portraits in the Choseon dynasty are particularly more focused upon the description of face than any other parts of the body and the expression of the spirit and aspiration of the models. In the direction of face of a model, 15 and 30 degree of the left side was more frequently painted than the right side. Hands of a model were mostly covered with clothes, and the clothes were described softly and complicatedly. The half-length statue was more often painted than the whole body, and in the whole body, the sitting at one's ease was more painted than the sitting on chairs. I found that there were characteristics of the portraits not in the half-length statue, but in the whole body statue. Up to the end of the Choseon period, a technique of Western painting, which had existed from the middle of the period, was accorded with wunyeompub(?댁?踰? As a result, yukrimun(?〓━臾? was created and became the typical style of Korean portraits. This was a unique development when compared with the portraits which preceded it. It is difficult to find a graphic effect which comes from the perversion, transformation and stress of a feature - an intentional exaggeration - like in the West and China in Korea portraits. We made an original style of painting as only trying to approach a real person.