Bovine Enterovirus에 關한 硏究

마점술(馬点述) 대한바이러스학회 1971 Journal of Bacteriology and Virology Vol.1 No.1

Twenty-one viral strains have been isolated in primary cultures of calf kidney cells from fecal specimens collected from cattle, apparently healthy or showing various elinical manifestations, in various parts of Japan. Of these isolates three strains, BF-20, BFS-1 and BFK-1, were examined regarding the biological, physicochemical and immunological properties in the present study. The three strains were shown to be strains of the enterovirus group on the bases of the size of virlon, the type of viral nucleic acid, the resistance to ether, chloroform and deoxycholate and the acid stability. Thus, the strains were filtrable through Sartorius membrane filters with a pore size of 50mg. The multiplication of the strains in bovine kidney cell cultures was not inhibited with 50mg/ml of 5-iodo-2'-deoxyu- ridine in the culture medium. The strains lost no infectivity by treatment with 50% anesthetic ether at room temperature for 30 minutes, with 0.5% chloroform at room temperature for 30 minutes, or vith 0.01% sodium deoxycholate at room temperature for 2 hours. The strains were very stable at pH 3 to 9 with a slight loss of infectivity at pH 2.5 when stored at 4C for 18 hours. The strains were relatively resistant to ultraviolet irradication. They were readily inactivated by heating at 56C or higher, slowly lost infectivity at 37C or room temperature, but they could be stored without any significant loss of infectivity at 4, -20 or -80C. Worthy to note is a difference in inactivation at 50C shown between BF 20 and the other two strains. When tested with undiluted infectious culture fluids, strain BF 20 showed no significant 'decrease in titer after heating at 50C for 60 minutes, whereas strains BFS-1 and BFK-1 demonstrated considerable losses of infectivity to 10-4 or 10-4 of the original titers after the heating. This difference was also observed when the infectious culture fluids were diluted tenfold with distilled water and then heated at 50C for 60 minutes.Thus, the infectious titer decreased only about tenfold with strain BF 20 in contrast with 10 to 10-fold decrease with strains BFS-1 and BFK-1 from inactivation by incubation at 50C for 60 minutes. The slight inactivation of strain BF20 at 50C was also suppressed with 1M.MgC1,. All the strains readily multiplied and induced cytopathic effect in various cell cultures: primary cell cultures of bovine kidney and testicle, swine kidney, chick embryo, and chick kidney, and cultures of bovine embryo kidney cells subcultured many times, BHK21 cells of baby hamster kidney origin and HmLu stable line cells of hamster lung origin. Serial passages were readily accomplished in these cultures and the infectivity usually reached peak titers of 10 to 10 TCID/ml in 18 to 24 hours of incubation at 34C. Strain BF20, however, showed slower growth with lower peak titers in chick kidney and chick embryo cell cultures than in the other cultures, and strains BFS-1 and BFK-1 did so in bovine testicle cell cultures. The strains induced similar cytological changes in infected cultures, consisting of rounding, shrinkage and deterioration of the cells alnd sloughing of the glass surface. Caves developed no clinical signs and symptoms when inoculated per orally with these three strains. The viruses, however, were excreted in feces for fairly long periods of time, and neutralizing antibodies were praduced, indicating that the viruses actually infected the animals. The strains showed no pathogenicity for rabbits and guinea pigs by the intraperitoneal or intravenous route. No illness was induced in mice, 24 hours to 10 days of age, inoculated intracerbrally or intraperitoneally with these strains. Blind passages were carried out by both routes at 4-day intervals, through the 3 or 4th generation. No illness occurred in none of the inoculated mice and no virus was recovered from various tissues of those rnice. Strain BFS-1 grew in developing hens eggs when inoculated into the yolk sac, or the allantoic cavity,

북한 민족가극 〈춘향전〉에 관한 고찰

마성은(馬聖恩) 건국대학교 인문학연구원 2012 통일인문학 Vol.54 No.-

남북을 아울러 우리 민족을 대표하는 고전문학으로 첫손가락에 꼽히는 작품은 바로 「춘향전」이다. 「춘향전」은 분단 이전부터 분단 이후까지, 오랫동안 우리민족의 사랑을 받아 온 작품이다. 그런 만큼 「춘향전」은 다양한 방식으로 재창작 되어 왔다. 북한에서도 「춘향전」은 다양한 방식으로 재창작되고 있다. 북한에서 다양한 방식으로 재창작된 「춘향전」 가운데 북한만의 특징을 가장 잘 나타내 보여 주는 작품으로는 ‘민족가극 〈춘향전〉’을 꼽을 수 있다. 이는 ‘민족가극’이라는 독특한 장르가 오늘날 북한 문화예술의 특징을 살펴보는 데 있어 무엇보다도 중요한 장르이기 때문이다. 민족문학사에서 「춘향전」이 차지하고 있는 위치를 감안할 때, 민족가극 〈춘향전〉의 성공적인 창조는 ‘민족가극’이라는 장르의 안착을 위하여 매우 중요한 작업이었다. 따라서 김정일은 민족가극 〈춘향전〉의 창작에 지대한 관심을 기울였다. 김정일의 직접 지도 아래 완성된 민족가극 〈춘향전〉은 1998년 12월 19일 만수대 예술극장에서 초연되었다. 북한 민족가극은 “노래가 절가화됨으로써 음악 자체가 연극성을 강하게 담지하는 수준은 떨어지지만”, 대신 “대중성은 강화된다”는 것을 알 수 있다. 이는 민족가극이 “피바다식 가극”으로 대표되는 혁명가극의 양식적 특징을 가지고 있기 때문이다. 또한 ‘방창’이라는 독특한 형태의 노래를 통하여 극에 개입하는 서술자가 존재한다는 것은 민족가극 〈춘향전〉에서 중요한 서술상의 특성이다. 8ㆍ15 민족해방 이후 북한 창극은 서방 오페라의 영향으로 무대 위에서 모든 노래들이 이루어지는 방향으로 변모하였다. 하지만 “피바다식 가극”이 수립되면서 방창이 다시 적용되었을 뿐만 아니라 “피바다식 가극”의 핵심 요소로 자리 잡기에 이르렀다. 원작에서는 중요하게 다루어지지 않고 있지만, 새롭게 각색된 민족가극 〈춘향전〉에서 찾아볼 수 있는 장면으로는 방자와 향단의 연애 장면을 들 수 있다. 남한 판본들에서는 다분히 억척스러운 인물로 묘사되고 있는 월매가 민족가극 〈춘향전〉에서는 상당히 다른 면모, 즉 차분하고 냉철한 모습을 보여 주고 있다는 점도 눈에 띈다. 민족가극 〈춘향전〉은 창작 과정에서 김정일의 지도를 직접 받은 작품인 만큼, 주체시대의 새로운 인간형을 담아냄으로써 주체적 민족가극을 창작해야 한다는 김정일의 요구가 그대로 반영될 수 있었다. 이에 따라 민족가극 〈춘향전〉에서는 등장인물들을 개성적인 매력을 갖춘 인물들로 형상화하기보다는, 그들로 하여금 봉건사회를 저주하게 하는 데 더욱 열중했다. 따라서 등장인물들이 개성적이기보다는 몰개성적이며 입체적이라기보다는 평면적인 성격을 가지게 되면서, 등장인물들 각자가 독특한 매력을 형상화하는 데에는 실패했다고 평가할 수 있다.

통일시대 아동문학의 역할

마성은(馬聖恩) 아동문학평론사 2018 兒童文學評論 Vol.43 No.4

Bovine Enterovirus 에 關한 硏究

마점술(馬点述) 대한바이러스학회 1972 Journal of Bacteriology and Virology Vol.2 No.1

The strains produced hemagglutinin in cell cultures although its production varied in different cells; in some cases virus grew well but no hemagglutinin was detected. In hemagglutination strain BF20 differed again from strains BFS-1 and BFK-1 The latter two strains agglutinated erythrocytes of guinea pig and mouse and did not thos of monkey, hourse, swine and sheep, whereas strain BF20 agglutinated erythrocytes of all these spacies. Hemagglutination occurred at 4C, and the optimum pH was 7.4. The tests were readily read after 2 hours of reaction with monkey erythrocytes, but it took a long time of 18 to 20 hours when erythrocytes of the other species were used.

현대미술에서의 종교화

마순자(馬淳子) 현대미술사학회 1993 현대미술사연구 Vol.3 No.-

風景畵에서의 古典主義

마순자(馬淳子) 한국미술연구소 2002 美術史論壇 Vol.- No.14

Landscape painting is the type of work in which natural scenery is the essential visual motif. 111e classicism in art is on the other hand characterised through it's normative form with spiritual and moral meaning. The different nature of the two resulting from the naturalism of the one and formal and normative nature of the other raises me question how the two, me landscape painting and the classicism could be united and formed into me classical landscape painting and what does the 'classical landscape painting' mean. This paper aims to clarify the historical process in which the classical landscape painting had been established as a proper genre and to review some of it's conceptual features, The classical landscape painting had been formed during 16-17th century. It was also during these period that the landscape painting had been acknowledged as an independent genre in alt. In the beginning of the 18th century Roger de Piles mentioned the concept 'classical landscape painting' for the first time, He classified the classical landscape painting into 'heroic' and 'pastoral'. As the representative of the heroic he named Nicolas Poussin and the pastoral Tiziano. De Piles valued heroic landscape especially highly as the greatest classical landscape painting because of its formal strictness and moral content. But he did not estimate Claude Lorrain's landscapes as classical because he thought Claude's paintings didn't fulfill the academic norm. Through the influence of de Piles the Academy of the late 18th century in France named the heroic genre as 'the historical landscape painting' De Piles defined the classical landscape painting as the depiction, not of the appearances of nature in chance but of 'the essential qualities of nature'. He insisted that me classical landscape painting should be a composition of perfect elements. It means that the classical landscape painting should be the realization of 'the perfect beauty', i.e. the reality in itself. In this sense it has the same character as the classical art in general. It differs from them that it takes it's motive from nature. De Piles's judgements is formulated on the basis of Poussin's landscapes between 1648 and 1651. But Poussin painted landscapes in other times too, in his early years of 1630's and in the late years between 1657 and 1665. But his landscapes of theses two phases are more naturalistic and even romantic than the landscapes around 1650's. One can ask then: Are not these paintings classical? But the analysis of Poussin's landscapes in all of it's phases shows that all his landscapes have the heroic character. Only me features of me heroic are concealed under the naturalistic appearances. In this respect Poussin's early and late landscapes have similar characteristics with Claude Lorrain's landscape. But Claude's works are more naturalistic than Poussin's both in composition and expression. Both painters selected the subjects from the bible and the classical literature. But Poussin's landscapes are more strict in form and more moralistic in subject while the Claud's are more natural and poetic. In other words Poussin's paintings are heroic while Claude's are pastoral and lytic. Poussin prefered historical subjects more, while Claude depicted the natural scenes independently and transformed it into arcadian landscapes. Despite the minute differences the landscapes of both Poussin and Claude are typically classical because they prefer me general to individual, because the general represents the order and the intrinsic phenomenon of nature. In this point the two painters can be judged as same, And on this point we can reconsider De Piles view on Poussin and Claude. His concept and evaluation was not freed totally from the traditional academic view and on account of it his evaluation of Claude was not fair.

“蓮花落” 本字考

馬雅琦(마아기) 한국교통대학교 동아시아연구소 2021 동아문헌연구 Vol.- No.-

“Lianhualao”(蓮花落)was originally written as “lianhuale”(蓮花樂)in the Song Dynasty, the last word from “le”(樂)to “lao”(落),this is caused by the literary pronunciation. “Lianhualao”(蓮花落)is the phonetic word, its original character is “lianhualou”(連話謱)or “lianlou” (謰謱), which means speak incessantly and indistinctly, that is the social cognition of the beggar beg for food.

“畜君” 詞義復議

馬雅琦(마아기) 한국교통대학교 동아시아연구소 2017 동아문헌연구 Vol.- No.-

[만화] 긴 겨울

마영신(馬榮伸) 새얼문화재단 2012 황해문화 Vol.74 No.-

浅谈中韩文化交流的现状、问题与对策 ― 以中国视角为中心

마정 (馬晶),김현태 대한중국학회 2017 중국학 Vol.60 No.-

2017 is the 25th anniversary of establishment between Korea-China diplomatic relation. Since the establishment of diplomatic relation in 1992, the two countries have actively exchanged political, economic, cultural, diplomatic interchange due to the conditions such as relatively favorable geographical proximity, cultural homogeneity, etc. compared to exchange with other countries. According to the statistics of China Magazine (2017.03,07), the number of personal exchange was 130,000 a year in 1992, the first year of establishment of diplomatic relation, however in the early 2016, before Thaad dispute, over 100,000 tourists visited each other’s country weekly, in a rapid development. Korean overseas students in China(在中) were around 66,000(15%) in 2016, the biggest proportion among foreign students, and Chinese overseas students in Korea(在韓) also rapidly developed to 70,000 students, over the half(57%) of international students. Also, 140 places concluded exchange agreement between provinces(省), cities between the two countries, accordingly, cultural exchange between the two countries were enhanced in qualitative level as well as quantitative expansion during the last 25 years, and cultural exchange became the most important core factor of Korea-China exchange. However, there are lots of problems in Korea-China cultural exchange due to reinforcement of nationalism, historical awareness, discrimination awareness, and cultural difference, etc. Also, there are obstructive factors along with political interest between the U.S. and China in respect of the Korean Peninsula situation. Particularly, the two countries are facing a serious crisis of cultural exchange since the establishment of diplomatic relation, such as prohibition of Chinese group tourists to Korea, restriction of Korean popular culture and Korean wave celebrities’ activities, etc. by Chinese government since Thaad placement problem in 2016. This research raised the status and problem of Korea-China cultural exchange firstly from the viewpoint of China. Also, based on this, suggested a basic plan to solve such problem, henceforth. Research based on the viewpoint of Korea will be progressed in follow-up study. 2017年是中韩建交25周年,建交以来中韩两国尽显地缘相近、人缘相亲、文缘相通的优势,文化交流与合作空前高涨,两国人员往来日益频繁,文化交流领域不断拓宽,交流水平和质量不断提高,文化交流成为中韩关系的重要组成部分。但是,在中韩双边文化交流过程中仍然存在着民族主义,相互认知差异,民间负面情绪增大等诸多亟待解决的问题。面对日益走向成熟且又敏感复杂的中韩关系,两国有必要调整对彼此的认知,尊重文化的多样性,以“和而不同”、“求同存异”为理念,寻找在不同文化之间开展交流与对话的途径,彼此取长补短,以达到共同发展。特别是在当前由于“萨德”入韩问题而使中韩关系面临挑战与挫折时,更加需要双方进一步增进理解和信任,扩大共识,改善两国关系的民意基础,而文化交流是加深两国国民之间相互理解、扩大友好合作,夯实中韩战略合作伙伴关系必不可少的有效途径。