유리체절제술 후 시행한 백내장 수술에서 유리체절제술이 인공수정체 도수 결정에 미치는 영향

김의연,안재홍,유호민,양홍석,Eui Yon Kim,M,D,Jae Hong Ahn,M,D,Ho Min Lew,M,D,Hong Seok Yang,M,D 대한안과학회 2008 대한안과학회지 Vol.49 No.11

Purpose: To evaluate the effect of vitrectomy in IOL power calculation for cataract surgery in the eyes that previously performed vitrectomy. Methods: This study comprised 41 eyes of 37consecutive patients who underwent cataract surgery after previous vitrectomy. IOL power calculation with the measurement of axial length and corneal power was conducted before vitrectomy and before cataract surgery. Target refractions at each surgery, assuming that the same power of IOL was implanted, were compared to actual manifest refraction after cataract surgery. Results: There was no statistically significant change in both axial length and corneal power after vitrectomy (p>0.05). Before vitrectomy, target refraction was -0.22±0.61D compared to -0.37±0.52D before cataract surgery. The actual refraction after cataract surgery was -0.47±0.94D, and there were no significant differences among the three refractions (p>0.05). Conclusions: In the eyes that underwent vitrectomy, vitrectomy itself does not have an influence on calculating IOL power for cataract surgery. J Korean Ophthalmol Soc 2008;49(11):1759-1764

Serous Retinal Detachment Following Combined Photodynamic Therapy and Intravitreal Bevacizumab Injection

김의연,김종완,김준범,류호민 대한안과학회 2009 Korean Journal of Ophthalmology Vol.23 No.2

We report a case of serous retinal detachment following combined photodynamic therapy (PDT) and intravitreal bevacizumab injection in subfoveal choroidal neovascularization (CNV). A 53-year-old woman was diagnosed with subfoveal CNV secondary to age-related macular degeneration (AMD) and treated with combined PDT and intravitreal bevacizumab injection. One day after treatment, the patient experienced a sudden decline of vision and optical coherence tomography (OCT) showed serous retinal detachment involving the macula. She was managed conservatively with an oral steroid beginning on the second day of the combined treatment and the subretinal fluid started to decrease one week following the initiation of steroids. This case suggests that combined PDT and intravitreal injection of bevacizumab can be associated with serous retinal detachment. Additional studies are needed to establish the safety and complications following this treatment regimen.

소절개창 백내장 수술에서 절개방법에 따른 눈물막 안정성 및 자각증상의 변화

김의연,김민호,양홍석,Eei Yon Kim,Min Ho Kim,Hong Seok Yang 대한안과학회 2012 대한안과학회지 Vol.53 No.9

Purpose: To investigate corneal surface changes and subjective symptoms after small incision cataract surgery and to compare the changes between clear corneal incision and corneoscleral incision. Methods: The present prospective randomized study included 18 eyes of 18 patients with corneoscleral incision (Group 1) and 25 eyes of 25 patients with clear corneal incision (Group 2). All patients were examined for tear break-up time (BUT), Schirmer test, cornea and conjunctiva fluorescein staining, and dry eye symptoms using the Ocular Surface Disease Index (OSDI). All values were compared before surgery and at one day, one week, four weeks, and seven weeks after surgery. Results: BUT decreased significantly (p < 0.05) and fluorescein staining scores increased significantly (p < 0.05) at postoperative day 1. The values of BUT and fluorescein staining returned to the preoperative level at postoperative week 3 in Group 1. In Group 2, fluorescein staining scores returned at one week and BUT returned to the preoperative level at postoperative week 3. Postoperative Schirmer test results were unchanged compared to preoperative values, and there was no difference between the two groups. OSDI scores significantly improved compared to preoperative scores at postoperative one week. In Group 1, the scores improved at postoperative one week (p < 0.05) compared to those in Group 2 at postoperative three weeks (p < 0.05). Conclusions: Phacoemulsification with a small incision induced transient corneal surface changes and tear film instability, but the changes returned to the preoperative level at postoperative three weeks. Dry eye symptoms also improved at postoperative one week. The changes lasted longer with clear corneal incision than with corneoscleral incision but returned to the preoperative level at postoperative three weeks in both groups. J Korean Ophthalmol Soc 2012;53(9):1269-1275

직업카드를 활용한 진로교육 프로그램이 지적장애 초등학생의 진로성숙도와 직업지식에 미치는 영향

김의연,이정은 한국특수교육학회 2023 특수교육학연구 Vol.58 No.3

This study aimed to examine the effects of a career education program using job cards on career maturity and career knowledge of elementary school students with intellectual disabilities. This study involved 20 students with intellectual disabilities in grades 4 to 6 that are attending special education classes at elementary schools in Gwangju Metropolitan City, with 10 in the experimental group and 10 in the control group. The career education program using job cards was implemented across 12 sessions during creative experience activities. A pre-post test control group design was employed to examine the effects of the career education program. To examine the intervention effect on students with intellectual disabilities, career maturity was analyzed with two independent sample t tests and career knowledge was analyzed with the covariance analysis(ANCOVA). The results are as follows: First, the career maturity of the experimental group was significantly improved compared to the control group, and not only the overall score, but the scores of each sub-area of career ability and career attitude were improved as well. Second, the career knowledge score of the experimental group was statistically significantly improved compared to the control group. The significance of this study lies in its application and exploration of the systematic career education program to elementary school students with intellectual disabilities based on the curriculum.

제초제 저항성 단백질 연구 현황과 CRISPR-Cas9 시스템을 활용한 제초제 저항성 토마토 개발 전략

김의연,박효선,구연종,양소희 전남대학교 농업과학기술연구소 2019 농업생명과학연구동향 Vol.57 No.-

The devlopment of herbicde-tolerant plants provide aconvenient farming method. The five most poular herbicdes are glyphosate, sulfonylureas/imdazolinoes, glufosinate, norflurasone and oxyfluorfen. Thes herbicdes inhibt 5-enolpyruvylshikmate-3phosphate synthase (EPS), acetohydroxyacid synthase (AHAS), glutamine synthetase (GS), Phytoen desaturase (PDS) and protporphyrinogen oxidase (PO), respectively. Inhibtion of EPS and AHAS reduces the biosynthesi of phenolic and branched amino acids, respectively, and inhibtion of GS and PDS enhances the production of reactive oxygen specis and induces plant necrosi. Inhibtion of PO decrease chlorphyl biosynthesi and inhibts plant photsynthesi. Thes herbicdes induce plant death by interacting with their target proteins therfore the devlopment of herbicde rsitant plants ibased on the discovery of mutant proteins insensitive tohes herbicdes. We rviewd the devlopment of herbicde-tolerant plants anderived target amino acids for the production of herbicde-tolerant proteins using the CRISPR/Cas9 sytem in tomatoes

종합병원 행정직원의 조직문화 인식이 정서적 몰입에 미치는 영향: 설립유형과 고용형태별 비교분석

김의연,주재현,신동석 중앙대학교 국가정책연구소 2015 국가정책연구 Vol.29 No.4

최근 들어 병원조직들은 국내외의 급격한 환경변화에 대응·생존하기 위해 조직문화의 개선과 조직몰입의 증대가 긴요한 상황에 놓여 있다. 본 연구는 그동안 적절한 관심을 받지 못했으나 병원경영과 관리의 중추라고 할 수 있는 행정직원들의 조직문화와 정서적 몰입을 분석의 대상으로 하였다. 구체적으로 의료서비스 기관의 특성을 고려하여 병원 설립유형과 고용형태에 따른 행정직원의 조직문화 유형의 인식이 정서적 몰입에 미치는 영향을 분석하고자 하였다. 종합병원 행정직 직원들을 대상으로 실시한 설문조사의 분석결과는 다음과 같다. 첫째, 종합병원 행정직 직원의 조직문화 유형 인식 중 관계지향·혁신지향·위계지향문화가 정서적 몰입에 긍정적으로 영향을 미치고 있는 반면 과업지향문화는 영향력을 확인할 수 없었다. 둘째, 조직문화 유형의 인식과 정서적 몰입 간의 영향관계에 있어 설립유형(국·공립; 사립)에 따른 차이는 확인할 수 없었다. 셋째, 조직문화 유형의 인식과 정서적 몰입 간의 영향관계에 있어 고용형태(정규직; 비정규직)에 따른 차이가 확인되었다. 즉 정규직이 비정규직에 비하여 정서적 몰입에 긍정적이었으며, 정서적 몰입에는 관계지향문화, 혁신지향문화의 순으로 긍정적인 영향을 주는 것으로 나타났다.

길맹 보행자의 대형 실내공간 길찾기를 위한 웨어러블 AR 내비게이션 디자인 제안

김의연,강수진 한국기초조형학회 2023 기초조형학연구 Vol.24 No.5

Those with dark sense of direction experience greater psychological pressure and energy consumption than ordinary people in the process of finding a way. Although some of the difficulties of street-blind pedestrians have been resolved through navigation services that have recently become common, smooth services are limited to outdoor spaces due to technical restrictions. The purpose of this study is to propose an efficient way to alleviate the road blindness phenomenon by focusing on detailed steps that occur while walking in large indoor spaces where GPS measurement is not easy. At this time, location-based services using mobile require a process of reconstructing two-dimensional information on the screen in reality by alternately looking at the front of the smartphone, which highlights user fatigue and safety problems. Therefore, it was intended to propose the UI design of a wearable AR service that can immediately check information in a three-dimensional reality space. In the case of research methods, four problems were defined along with deriving the wayfinding mechanism for street-blind pedestrians through two user surveys in large indoor spaces. This was a need for multiple destination settings, a need for route and direction reset, a pedestrian direction recognition problem, and a sensor direction recognition problem. The possibility of solving problems defined through currently available services was examined, and the following specific solutions and concepts were proposed as research results. First, not only before departure, but also during walking, a number of destinations were added and modified to guide the optimal route. Second, a direction setting solution was proposed for arrival and re-departure of intermediate stopovers. Third, a specific UI design was presented as a solution to the problem of pedestrian direction recognition, and fourth, a method of monitoring the path in terms of sensor direction recognition was proposed. Based on this study, it is expected various design studies will be conducted to alleviate the problem of street blindness.

세계유산 신라왕경의 탁월한 보편적 가치 속성 분석

김의연 국립문화재연구원 2022 헤리티지:역사와 과학 Vol.55 No.1

According to the "Special Act on the Restoration and Maintenance of the Core Relics of the Shilla Kingdom" enacted in 2019, the Shilla Kingdom refers to the capital of Shilla and Unified Shilla period, and refers to Gyeongju, where the king lived, and the nearby area. Shilla Wanggyeong is a heritage registered on the UNESCO World Heritage List in 2000 under the name of Gyeongju Historic Site and belongs to Wolseong District, Hwangnyongsa District, and Daeneungwon District among the five districts registered as Gyeongju Historic Site. Unlike the Namsan and Sanseong districts, the Shilla Kingdom is a heritage consisting mostly of archaeological sites without physical substance. Gyeongju City sought to promote local tourism while providing more direct experiences to visitors by restoring the heritage that constitutes the Shilla Kingdom. Starting with the restoration of Woljeonggyo Bridge in 2005, the Shilla Wanggyeong restoration project began in earnest. Gyeongju City tried to restore the building site on the west side of Donggung Palace and Wolji after Woljeonggyo Bridge, but it was canceled due to opposition from the UNESCO World Heritage Committee. The World Heritage Committee opposed the restoration and recommended a heritage impact assessment for similar projects in the future. During the miscarriage impact assessment procedure, there is an OUV attribute analysis process of the heritage to be evaluated. This study intends to preemptively derive OUV attributes for the Silla Kingdom through literature and overseas case analysis. In the case of literature research, domestic and foreign research data related to the UNESCO World Heritage Convention and World Heritage Management were examined, and in overseas cases, the architectural works of Krakow Historical District, Stonehenge and Abbury Geoseok Ruins in England, and Le Corbusier were analyzed. Through this, the outstanding universal value attributes of the Silla Kingdom were derived. This study is expected to be used as a reference in the process of restoration projects of other heritage constituting the Shilla Kingdom or construction plans in nearby areas in the future and serve as an indicator to improve the management system of the Shilla Kingdom more efficiently from the perspective of world heritage.

브루스 나우만의 은폐된 ‘몸’: 관람자와의 거리 두기

김의연 미술사학연구회 2009 美術史學報 Vol.- No.33

This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will o... This study found that one of the key themes of Bruce Nauman(1941-)'s broad range of artworks was best expressed in the ones that used the human body as an art medium and suggested that his early works using the human body(1966-1974) in particular set a direction of his entire art world. In his body works, Nauman used the 'hiding' strategy that exposed the body and hid it at the same time. As he was conscious of the viewer when he used his own body for his artwork, he wanted to hide it in his unique ways. He also wanted to hide the body of the viewer, which became the performer, from the eyes of the other viewers. By doing so, he created a distance between the body of the artist or the viewer, and the viewer who watches that body. With this in mind, this study categorized the bodies used in Nauman’s works into the artist’s own body and the viewer’s body, and analyzed how the body’s subject in each case is hidden from the eyes of the viewer. In parallel, the study examined Nauman’s roles as the subject that takes charge of his artwork. When Nauman used his own body in his artwork, he made it anonymous and fragmented by hiding his identity. Furthermore, he used word play for the effect of confusion on the meaning of his work. He hid his body from the eyes of the viewer through art make-up, which served as another way to hide. He made the body entirely disappear or left only the trace or sound of it. As a result, the viewer feels confused and gets to keep a distance from Nauman's work rather than getting immersed in it. The distance like this also existed in his other works where the viewers participated as the performers. In the case of hiding the viewer’s body, Nauman does not make the viewer physiologically engaged in his work, but make them feel confused by distorting the viewer’s body or not showing it even, in the mirror or video monitor installed in his work. In addition, he makes the viewer get inside the installed structure to hide him/her from the eyes of the other viewers and isolate him/her in that space for extreme perceptive confusion. Nauman’s intention in keeping this physiological or physical distance via hiding was to disorient the viewer. The viewer gets to experience from subtle confusion of perception when faced with Nauman’s work to extreme synesthesiatic confusion in the dystopian environment he created. Nauman’s dystopian space can be interpreted as the symbol of the absurd reality and the repressed and controlled society of the time. As Nauman supported artists’ engagement with reality, he made the viewers vividly feel the repression of the time by making them feel repressed rather than letting them feel their free will. Nauman not only hid the body but also controlled the viewer like the Panopticon by hiding behind his work. In other words, he silently manipulated the viewer through the closely-knitted network of supervision and control. As such, Nauman recognized the existence of the viewer and created artworks that were not completed by themselves but could be completed via engagement of the viewer. Nauman’s peer artists who also used their body in their artwork were growing out of subjectivity of modernism and showed increasingly stronger interest in intersubjectivity, which is created from relationships with the viewer, who is also the object. Nauman himself recognized his body as the subject of his artwork as well as the objectified subject that is the object which the viewer sees, and demonstrated a kind of relationship where the boundary between the subject and object becomes blurry. However, the relationship between the subject and object in Nauman’s work is different from the clear patterns of intersubjectivity. The subject and object of his works can be replaced with each other only through the eyes of each other. Therefore, the level of intersubjectivity that influences both is weak. This is attributable to the fact that Nauman emphasized his own will over ...

데이비드 스미스의 작품에 나타난 자아 이미지

김의연 미술사학연구회 2006 美術史學報 Vol.- No.26