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강희정,김익천,김진회,손원근,이두식,Kang, Hee-Jung,Kim, Ik-Chun,Kim, Jin-Hoe,Son, Won-Geun,Lee, Du-Sik 대한수의학회 2001 大韓獸醫學會誌 Vol.41 No.4
Microorganisms were isolated and identified from bovine 296 quarters which showed positive reaction by California Mastitis Test (CMT) in 40 farms of Jeju from September 1999 to June 2000. The organisms associated with the mastitis of bovine were 11 different bacterial species in this study. Which of them, Staphylococcus aureus was the most predominant species as 152 (51.4%) isolates. Other identified species included 49 (16.5%) coliform, 47 (15.8%) Streptococcus dysgalactiae, 15 (5.1%) Bacillus spp., 8 (2.7%) Staphylococcus epidermidis, 6 (2.1%) Streptococcus agalactiae, 5 (1.7%) Enterococcus faecalis, 5 (1.7%) Corynebacterium spp., 3 (1.0%) Streptococcus uberis, 1 (0.3%) Pseudomonas aeruginosa and 1 (0.3%) Pasteurella haemolytica. Almost of all the islolated beacterial species showed high sensitivity against kanamycin (98.6%), cephalothin (98.0%), streptomycin (94.9%), gentamicin (94.6%), ampicillin (92.2%) and polymyxin B (90.2%). On the contrary, they showed resistance against penicillin (47.0%), tetracycline (37.2%), cefazolin (26.0%), bacitracin (22.6%) and erythromycin (19.9%). Eighty-one isolates were not resistant to any antibiotics and 215 drug resistant isolates showed 89 different drug resistance patterns from single to nine multiple antibiotics resistance patterns.
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강희정(주저자) ( Hee Jung Kang ),강희정(교신저자) ( Hee Jung Kang ) 디자인융복합학회 2015 디자인융복합연구 Vol.14 No.6
세계적으로 창업의 중요성이 강조되고 있지만, 국내 디자인 분야의 경우 디자인전문회사의 공급과잉 상태로 가격 경쟁 격화, 저가 수주 만연 등 다양한 문제들이 발생하고 있다. 본 연구는 디자인창업자들의 현실적인 문제점을 파악하여 국내 디자인창업 현황에 대한 이해를 확장하고자 하였다. 연구목적을 달성하기 위하여 첫째, ``디자인창업 동기는 무엇인가.`` 둘째, ``디자인창업을 하는데 있어 애로 사항은 무엇인가.``로 연구 문제를 설정하였다. 연구 방법으로는 질적 연구 방법 중에서 내러티브 탐구 방법에 근거하여 자료 수집하였고, 분석 과정은 귀납적 분석 위주로 하고 해석적 분석을 추가하였다. 연구 결과, 연구 참여자들은 자아실현을 위해 창업을 하게 되었고,창업 성공의 기준을 높은 매출액에 두지 않았다. 또한 참여자들은 규모 경제 실현, 유통 개척, 자금 조달의 다양화, 제품의 선택과 집중에 어려움을 겪고 있었다. While there is a worldwide emphasis on the importance of startups, the Korean design industry suffers from an over supply of design companies, increased price competition and widespread low costs contracts etc. This study aims to expand the understanding of the current states of design based start-ups in Korea by determining related practical issues. To achieve the research objective, the research questions were set to first, "what is the motivation for the design based start-up" and second, "what are the difficulties in setting up a design based start-up." To collect data, the qualitative narrative inquiry method was used, and this data was analyzed using inductive analysis supplemented by interpretive analysis. The results of this study showed that the participants founded companies to realize their own visions and did not base the success of their startup on high revenues. The research also confirmed that the founders had difficulty in achieving economies of scale, opening distribution channels, diversifying sources of funding, selecting and focusing on a particular design service to offer.
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姜熺靜(Kang Hee-jung) 한국미술사학회 2003 美術史學硏究 Vol.- No.237·238
Sinicization in the Southern and Nothern Dynasties period is one of the most crucial issues in Chinese art history. It is widely admitted that Han (漢) people played a more important role than non-Han people in representing the Buddhist of this period. although most of examples remain in the territories of the Northern dynasties. It can not be easily decided who took the initiative in creation of Chinese Buddhist arts. It seems that the Buddhist art in this period was not heavily influenced by Indian models. Even if they borrowed the basic iconography, they could not be free from their own artistic tradition. This tradition can be traced back to the Han period, whose art formed the classical form and style in Chinese art. Some of the art motifs, such as dragon (龍), pushou (鋪首), lienli trees (連理木), in Han came into use in the Buddhist art in the Southern and Northern Dynasties. First of all, Chinese artisans used the dragon motifs instead of n?ga. As many Buddhist monks translated the Sanskrit word for n?ga into dragon in Chinese, they could easily borrow and use the dragon images from their traditional representation. The Chinese people in this period seems to imagine the reality of the Buddha from the dragon. At first, they used the dragon motif in the upper part of the niche. Afterward they added more Buddhist implications to the dragon motif. Some of the dragons were represented with lotus buds or flowers growing from their mouth. Moreover, men come out from the lotus out of the dragon in Lienhuadong (蓮華洞), in Longmen (龍門) Caves. It reminds us of the famous images of "Reborn in the western paradise from lotus (蓮華化生)". Another art motif borrowed from the Han tradition is pushou. Pushou was widely represented in ancient Chinese art for the purpose of chasing off all the evils. The Buddhist artisans thought the pushou would be helpful to protect the Buddhist world and it could prevent all the evil intruders. One can find the pushou images everywhere at Guyangdong (古陽洞) in Longmen. The Buddhists in the Eastern Wei (東魏) and the Northern Qi (北齊) also owed the ancient Confucianists for the symbolic motifs in their Buddhist arts. As the lienli tree motifs symbolized the Confucianists' loyalty to their emperors, the lienli tree halo behind the Siwei image (思惟像) in the Freer Gallery had the same meaning. At first the lienli tree halos were used for the Siwei images around the Hebei (河北) province. Then this motif were used more widely in other bodhisattva and Buddha images. One can explain it was a kind of the Buddhists 'effort to show their loyalty, one of the most important values in Confucianism, to their emperors during the period of disorder. When the Buddhists used the traditional art motifs transmitted from Han China, they found a way to incorporate the Confucian symbolism and values into Buddhist art. Such a reconciliation led them to make a more substantial basis of sinicization in Tang(唐) Buddhist arts.
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3차원 로봇 맥 영상 분석기의 5단계 가압 맥파 분석에 의한 고혈압 환자의 현맥(弦脈) 연구
강희정 ( Hee Jung Kang ),권영상 ( Young Sang Kwon ),김달래 ( Dai Lae Kim ),김경철 ( Kyung Cheol Kim ),임윤경 ( Yun Kyoung Yim ) 대한경락경혈학회 2010 Korean Journal of Acupuncture Vol.27 No.1
Objectives: The purpose of this study is to gain the objective indicators for the classification of hypertension by oriental medical pulse diagnosis, through finding out the parameters which can distinguish the pulse of hypertensive patient from that of normal subject, and characterizes the wiry pulse of hypertension. Methods: 30-59 yr, male, 946 healthy volunteers and 35 hypertensive patients were enrolled in this study. All the hypertensive patients were taking medicine to control the blood pressure and the blood pressure of the hypertension group was not statistically different from that of the normal healthy group. Data were acquired using 3 dimensional pulse imaging analyser(DMP-3000, DAEYOMEDI, KOREA) and analysed according to the age bands and the applied pressure levels. Results: 1. RAI/t, w/t and t2/t decreased with the levels of applied pressure and increased with age in the normal healthy group, not in the hypertension group. 2. RAI/t, w/t, t2/t were significantly higher in the hypertension group than the normal healthy group in the 30-age band, and elasticity coefficient was higher in the hypertension group than the normal healthy group in the 40-age band. 3. Researches on the patients without hypotensive agents are needed to figure out whether these parameters are the components of hypertensive wiry pulse. Conclusions: Analysing the radial pulse at 5 applied pressure levels using 3 dimensional pulse imaging analyser may be useful to differentiate the pulses of the hypertensive patients from those of the normal subjects, and characterize the hypertension.
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강희정 ( Hee Jung Kang ) 미술사와 시각문화학회 2004 미술사와 시각문화 Vol.3 No.-
Sarnath, where Sakyamuni gives his first sermon to the 5 bhikkus, is the place that became one of the most important sacred places to Buddhists. What caused Sarnath to be a leading pilgrimage place is that it is the place where Sakyamuni preached for the first time after his enlightenment. At site, remains from the period of Sakyamuni is nor discovered. The oldest structure in Sarnath was built under the king Ashoka. Ashoka who was especially interested in development of 5arnith built the Ashoka stupa and a pillar. At Kushan period, there were also sanghas and the Buddhist monasteries, bur compared to those of Gandhara or Mathura, these were not par?ticularly a place to focus on. It was in Gupta period that Sarnath came up to the surface of Buddhism. And this was related to pilgrimages of many Buddhists. Many East Asian priests visited Sarnath and paid reverence, because of its importance in Buddhist history. And among those, there were several monks like Faxian, Xuan-zang, Ijing, Hyecho who recorded their journey. According to their records, they have the viewpoint of pilgrimages to follow the way of Sakyamuni at the Indi?an Buddhist sites. Those monks valued Sakyamuni`s previous lives and places where related with him. They have no interest in Buddhist art like contemporary research. They just left a little records of stupa, where commemorated special events or special relations and Ashoka pillar. Among those, Sarnath, Sakyamuni`s first preaching place and where had special relations with him, was recognized signifi-call. There arc several main remains excavated at Sarnath. Dharmarajika Stupa, Dhamekh Stupa, and Chaukhandi Stupa are located at Sarnath remain districts.
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姜熺靜(Kang Hee-jung) 한국미술사학회 2001 美術史學硏究 Vol.- No.232
The iconography of the willow-bearing Avalokite?vara or Guanyin 楊柳觀音 images derived from the caur? bearers in ancient India. The willow was adopted as an attribute of Guanyin, since a caur? and willow looked almost alike. Besides their similarity in appearance, it is important to note the similarity in materials According to the Shishi vaolan 釋氏要覽, caur?s were made of various raw materials like the bark of trees, animal hair, some kinds of yarn, and woolen fabrics cut lengthwise. One suspects that the bark of willows was used for making a caur? in the 6th century. Since willow-bearing Guanyin images were not found in the Chinese Central Asia, it is quite possible that the iconography of a willow-bearing Guanyin was a Chinese creation. Although its iconography originated in the 6th century. the making of willow-bearing Guanyin images remarkably increased during the Sui Dynasty. The rituals using a branch of willow and a water bottle seem to have been widely performed for curing disease during the Sui dynasty. This type of ritual is described in identical form in many s?tras such as Qing guanyin jing 請觀音經 and Tuoluoni zijing 陀羅尼集經 translated during the Southern and Northern Dynasties. Inscriptions on the pedestals of willow bearing Guanyin images also support that such ritual was performed in connection with tho images. The willow-bearing Guanyin is significant in the development of iconography of Chinese Guanyin images. because this type was exclusively used for Cuanyin unlike other characteristics frequently attributed to this deity.
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