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- 저자 : 이인웅(Lee, In-Woong) (검색결과 31 건)
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타이타늄 임프란트 골유착시 TGF-$\beta$와 IGF-I의 발현
이인웅,송현철,지유진,Lee, In-Woong,Song, Hyun-Chul,Jee, Yu-Jin 대한악안면성형재건외과학회 2005 Maxillofacial Plastic Reconstructive Surgery Vol.27 No.2
Many of the molecular and genotypic events taking place at the osteoblast cell level during bone-implant integration are still largely unknown. The objective of this study was to examine expression patterns of TGF-$\beta$ and IGF-I related genes during bone-implant integration. Titanium implants with machined surface were placed into 8 rabbit tibias. At 3rd, 7th, 14th, 28th day after implantation, the expression pattern of TGF-$\beta$ and IGF-I genes in bone with or without implant was examined using reverse transcriptase-polymerase chain reaction (RT-PCR). At the same time, histomorphometric analysis was evaluated, respectively. The bone-to-implant contacts (BIC) of experimental groups were 5.2%, 6.2%, 6.6%, 24.6% at 3rd, 7th, 14th, 28th day. This indicated that newly formed bone increased at the implant surface in bone marrow space after implantation. The expressions of TGF-$\beta$ and IGF-I were higher in implantation groups than untreated control groups during all experimental days. The increased expression of TGF-$\beta$ and IGF-I genes may be associated with the increased bone-to-implant contact. This result provided the evidence for existing biologic differences in tissue response after implantation and helped us to understand molecular biologic processes in tissue-implant integration.
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이인웅(Lee, In-Woong),김태완(Kim, Tae-Wan),이동호(Lee, Dong-Ho),이상훈(Lee, Sang-Hoon) 한국방송·미디어공학회 2012 한국방송공학회 학술발표대회 논문집 Vol.2012 No.7
본 논문은 함정의 대규모 임무지향시스템에서 전술 데이터를 전송할 때 발생할 수 있는 인코더와 디코더 언더플로우를 방지하고, 트래픽이 프레임 별로 역동적으로 발생할 수 있는 환경을 고려하여 트래픽 스무딩을 수행한 전송 시스템에 대하여 설명한다. 기존의 H.263, H.264의 전송 표준 방식인 on-off policing 방법은 인코더의 목표 비트 전송률(Target Bit Rate)에 따라서 일정한 값으로 정해지는 것과 달리, 프레임을 인코딩함으로써 발생한 프레임의 전체 셀 량과 슬라이스 별로 발생하는 데이터 셀의 역동성을 반영하여 프레임마다 전송시간과 전송률을 반영해주면 부드럽게 전술 데이터의 전송이 일어난다. 또한 기존의 on-off policing과 제시한 대규모 임무지향시스템에서의 트래픽 스무딩 알고리듬의 성능을 비교하여 분석한다.
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하인리히 하이네의 『파우스트 박사. 하나의 무도시(無蹈詩)』고찰
이인웅(Lee Inn-Ung) 한국외국어대학교 외국문학연구소 2003 외국문학연구 Vol.- No.13
During the winter of 1846-7 Heinrich Heine wrote Der Doktor Faust for a performance at the London Royal Opera House, ‘Her Majesty's Theatre’, and its Erlauterungen. He made a substantial revision which failed to be performed and was later published in Germany under the title of Der Doktor Faust. Ein Tanzpoem nebst kuriosen Berichten uber Teufel, Hexen und Dichtkunst in 1851. Der Doktor Faust is based on the old legend of Faust from Germany. This legend is the story of Faust, who mastered thel fields of science, making contracts with the devil out of his desire for earthly pleasure and being taken to hell after all hedonic experiences, as the contract ends. Heine reproduced this legend as a 5-act drama, Ein Tanzpoem. He organizes his drama as a traditional tragedy by following the traditional structure opening-ascending-climax-descending-catastrophe, and reformulates it as a ballet rather than as a dialogue of language. For Heine, ballet means an art which uses the entire body along with music. In formulating Ein Tanzpoem, as a ballet, Heine focuses on describing each action of the characters, and develops the story by expressing emotions and souls as an artistic dance. For a magical performance, he allows the greatest portion of the drama for the scene of chaotic dance in the world of incantation and witches. In contrast to this chaotic world, Heine presents the orderly dance and conducts Queen Helena of ancient Greece. In Der Doktor Faust, Faust is described as a figure who turns away from the spiritual world in pursuit of ephemeral pleasure in this physical world. He is tempted to sign the contract with the devil, Mephistophela, who appears as a beautiful woman. Yielding to the temptation of Mephistophela, Faust learns the sensual dance and plays the game of love with a duchess, Helena, and the daughter of a mayor. In the end, Mephistophela, as a devil, takes him to hell. In the last scene of Der Doktor Faust, Heine destroys Faust by the “eternal devil”, while Goethe allows the “eternal feminine” to lead the spirit of Faust to heaven in his tragedy, Faust. In this regard, Heine criticizes Goethe for not following the original story of the legend, which represents the German spirit. On the other hand, Heine admires Goethe's description of Helena, which shows that Heine has a great affection for ancient Greek culture. During the winter of 1846-7 Heinrich Heine wrote Der Doktor Faust for a performance at the London Royal Opera House, ‘Her Majesty's Theatre’, and its Erlauterungen. He made a substantial revision which failed to be performed and was later published in Germany under the title of Der Doktor Faust. Ein Tanzpoem nebst kuriosen Berichten uber Teufel, Hexen und Dichtkunst in 1851. Der Doktor Faust is based on the old legend of Faust from Germany. This legend is the story of Faust, who mastered thel fields of science, making contracts with the devil out of his desire for earthly pleasure and being taken to hell after all hedonic experiences, as the contract ends. Heine reproduced this legend as a 5-act drama, Ein Tanzpoem. He organizes his drama as a traditional tragedy by following the traditional structure opening-ascending-climax-descending-catastrophe, and reformulates it as a ballet rather than as a dialogue of language. For Heine, ballet means an art which uses the entire body along with music. In formulating Ein Tanzpoem, as a ballet, Heine focuses on describing each action of the characters, and develops the story by expressing emotions and souls as an artistic dance. For a magical performance, he allows the greatest portion of the drama for the scene of chaotic dance in the world of incantation and witches. In contrast to this chaotic world, Heine presents the orderly dance and conducts Queen Helena of ancient Greece. In Der Doktor Faust, Faust is described as a figure who turns away from the spiritual world in pursuit of ephemeral pleasure in this physical world. He is tempted to sign the contract with the devil, Mephistophela, who appears as a beautiful woman. Yielding to the temptation of Mephistophela, Faust learns the sensual dance and plays the game of love with a duchess, Helena, and the daughter of a mayor. In the end, Mephistophela, as a devil, takes him to hell. In the last scene of Der Doktor Faust, Heine destroys Faust by the “eternal devil”, while Goethe allows the “eternal feminine” to lead the spirit of Faust to heaven in his tragedy, Faust. In this regard, Heine criticizes Goethe for not following the original story of the legend, which represents the German spirit. On the other hand, Heine admires Goethe's description of Helena, which shows that Heine has a great affection for ancient Greek culture.
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파우스트와 역사세계의 관계 : 괴테의 『파우스트. 비극 제2부』를 중심으로
이인웅(Lee Inn-ung) 한국외국어대학교 외국문학연구소 2004 외국문학연구 Vol.- No.18
In his drama Faust II, Goethe includes references to major historical developments of the early 19th century. In providing stage directions, Goethe used the device of indicating locations but without specifying the historical period or the actual historical events which occurred there. The drama begins with the description of a nation in decay. The emperor is merely a political puppet: feudal lords hold the real political power. This feudal nation comes to an end in Act IV. In such a historical process, Faust is a citizen who disturbs the feudal power, in pursuit of his own ideal. This breakdown of the nation reflects the demise of the Holy Roman Empire, which started with the Golden Bull (1356) and ended under Joseph II in Goethe's lifetime. Goethe’s work illuminates the historical events leading to the collapse of the feudal system. In the feudal nation, Faust invokes the phantoms of Paris and Helena: the object of his desire. This desire results in Faust searching for the reputed Beauty of ancient Greece. He goes to the world of ancient times with his own characteristics as a German. As a typical Renaissance citizen, he eventually wins the hand of the Beauty of ancient times by accomplishing a real and personal love with Helena. Such a union means the rebirth of the ancient times in the Renaissance. In terms of cultural history, this episode represents a synthesis of classical and romantic elements, which breaks down at the death of Euphorion. To Faust, history is shaped by great minds and the process of history is not unalterable. Driven by his self-consciousness and thirst for action, Faust pursues mechanical civilization through a land reclamation project. In so doing, he displays the characteristics of a capitalistic exploiter. Through his blind eyes, Faust envisions free people in free lands, which shows that his aim is in self-liberation. This last vision displays his political and historical ideal: creative activity. In Faust II, Goethe describes a variety of historical periods and places, and mingles historical events with imagination. Thus, he interprets ancient times as a mode of being that can be repeated at any time, rather than as a fixed historical period. Likewise, he represents the feudalism of the 16th century as if it were the present that coincides with current activities. However, his imaginative construction of events is strictly historical, in that he preserves the characteristics of each historical period. In the historical setting portrayed in Faust II he is consistent in his presentation of the theme of Faust but he goes even further and reveals his vision of the future.
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