Cuttlefish bone/ sepia officinalis (kafe dariya): recovery of long forgotten Unani drug

Ansari, Shabnam Cellmed Orthocellular Medicine and Pharmaceutical 2019 셀메드 (CellMed) Vol.9 No.4

A cuttlefish bone is not a bone, but the internal shell of the Cuttlefish/ sepia officinalis, a small, squid-like cephalopod of phylum molusca, an animals of the order Sepiida. Cuttlefish bone comprises up to 90 percent of its content of calcium carbonate with the abundance of different bioinorganic elements such as magnesium, strontium, iron, even trace amounts of copper, zinc, aragonite and ${\beta}$-chitin which makes it extremely valuable and worthwhile to be used for biomedical research. Unani system of medicine has been using cuttlefish bone under the name of 'kafe dariya' for the treatment various disorders and ailments since centuries. Unani scholars were well aware of the valuable medical and cosmetologically aspect of cuttlefish bone. However, the drug has been forgotten for its beneficial effect and went deep away from the scientific researches. The purpose of the present review is to highlight and revive the data on cuttlefish and cuttlefish bone for its morphology, composition, types, pharmacological actions, temperament, therapeutic dosage, contraindications, correctives, alternatives and therapeutic uses with special reference of Unani medicine to attain its the beneficial features in biomedical sciences.

김복진의 미술비평론 : 1920년대의 진보적 이론을 중심으로

윤범모(Youn Bummo) 현대미술학회 2005 현대미술학 논문집 Vol.9 No.-

The art theory and art criticism of sculptor Kim Bok-jin created an unrivaled position. Especially, the theory activity in the middle of 1920s, which is before his prison life caused of political movement, presented an epoch-making aspect. In other words, his radical theory and practice influenced the culture and art of his generation. Due to this fact, his movement was evaluated after his death - although it was carried out by the civilian governmen the received the mark of honor from the government, as being the one and only among artists. The progressive art theory of Kim Bok-jin is classified into Newly-rising Art Theory Criticism, Commercial Art Theory, Minjung Art(the art of the masses) Theory, and Proletarian Art Theory. The Newly-rising Art Theory Criticism can be confirmed by the data 〈Contemporary Art in Emphasis on Subjectivity〉 from the first issue of Korea Artista Proleta Federatio(KAFE) bulletin [Literary Activity]. This article considered 'subjectivity emphasis' as the distinction of contemporary art and took notice of actualism activity along with Courbet. However, Kim Bok-jin gave attention to internal affairs rather than Western Art and carried a more specific and progressive theory. The definite example is 'Commercial Art Theory'. The related contents can be confirmed in the data (Commercial Painting and Art Activity), which was published when he was still a student in art school. In this article, he called attention to commercial art, with particularly applying painting in that field. He contributed to socializing art in certain ways such as practically estimating signboards or show windows. 'Minjung Art Theory' of Kim Bok-jin is found in 〈Harmonizing Point of Commerce' Industry and Art〉(1923) in the magazine [CommerceㆍIndustry World]. In this article, he stated progressive art theory with insisting upon art for the mass of people. He regarded that the prosperity of Minjung Art was resulted from the industrial workers as being artistic. His Minjung Art Theory was developed in a more innovative way as it was specified in his 'Proletarian Art Theory'. 'Proletarian Art Theory' denied the ultra-hierarchy in art and supported proletarian art through his 〈Spiral Declaration draft〉. This was a short sentence, yet it is unique for its declaring form of writing. The insistence of this article became actualized in 〈The Contention of Korea Artista Proleta Federatio〉. Although the writer was omitted, this article is valued as a principle document for sharing the art idea of Kim Bok-jin, who was the leader of Korea Artista Proleta Federatio. Through the articles mentioned above, it is possible to confirm the most progressive insistence of art theories in the 1920s. We can rediscover his historical position by confirming that the forefront proclamation of progressive art theory of the present age was accomplished by sculptor Kim Bok-jin.

김남천의 ‘감각’적 신체로의 탈주 - 김남천의 「공장신문」과 「물!」을 중심으로 -

김지연 ( Kim Ji-yeon ) 한민족어문학회 2022 韓民族語文學 Vol.- No.95

이 글은 1930년대 초반, 카프 문학사에서 이른바 「물」 논쟁의 중심에 섰던 김남천의 소설 창작방법의 전회 지점을 분석해 보고자 하였다. 특히 「공장신문」(1931)과 「물」(1933)을 비교하여 창작방법이 전회한 이유와 효과를 분석하기 위해 생성의 철학자로 알려진 들뢰즈의 사유를 통해 김남천의 초기 단편소설을 읽었다. 「공장신문」과 「물」은 공통적으로 ‘물’을 매개로 한 소설이다. 「공장신문(工場新聞)」은 김남천이 김기진 등의 대중화론을 비판하던 때에 발표한 작품으로 볼셰비키론에서 내세우던 구체적인 창작 지침이라고 할 수 있는 ‘전위의 활동’과 ‘어용 노조의 분쇄’를 드러내고 있다. 프롤레타리아 문학이 전위의 수단이 되고 당의 관점을 널리 알리는 목적으로 활용되며 대중의 정치의식을 고취하려는 목적으로 활용되었다. 그러나 감옥에 다녀온 경험을 바탕으로 한 김남천의 「물」은 신체의 감각을 바탕으로 인간의 욕망을 있는 그대로 보여주는 방식을 취하게 되는데 이는 그 전의 작품들과는 확연히 다른 지점이다. 따라서 이 글은 ‘전위’의 활동과 구호에 집중하였던 소설의 인물들이 「물」에 이르러 어떤 변화를 보였는지 살펴보려는 시도를 하였다. 이 연구는 회화 작품에서 예술적 힘을 발견한 들뢰즈의 시도처럼 1930년대 소설인 김남천의 「물」에서 그 미학적 의미를 찾고자 하였다. 김남천이 당시의 창작방법론을 근본적으로 갱신했다고 볼 때, 들뢰즈의 철학적 사유의 태도와 방법을 김남천의 소설에서 발견할 수 있었다. 바로 감각적 신체를 통한 인물의 형상화 방법과 이 인물의 ‘동물-되기’, 나아가 ‘기관 없는 신체’로의 탈주 지점을 확인할 수 있다. 다시 말해 들뢰즈의 시각을 통해 신체의 생리적 감각을 넘어서는 새로운 힘을 포착하고 반재현을 통한 새로운 이미지로의 탈주의 지점을 작품 내에서 확인하는 것이다. 이러한 새로운 읽기는 지금까지와는 다른 김남천 문학에 대한 긴 오해의 관행을 극복하고, 그의 문학을 재사유하는 시작이 될 것이다. The purpose of this paper was to analyze Kim Nam-cheon’s short story, Water, which was at the center of the so-called Water discussion in the history of KAPF literature in the early 1930s, focused on the turning point of Kim Nam-cheon’s novel creation method. To analyze the reason and the effect of Kim Nam-cheon’s creation style change by comparing the Factory Newspaper and Water, the perspective of J. Deleuze who is the philosopher of becoming is introduced. Water is the main material that is used in Factory Newspaper and Water. Publishing Factory Newspaper, Kim Nam-cheon criticize the popularization theory of Kim Ki-jin and others, and in this novel. He also describes Potential Activities and Crushing of the Fishing Union, which can be said to be specific creative guidelines used in Bolshevikiron. Literature can be means to enhance the political perspective that the Nation promot the partys perspective. However, Kim Nam-cheons Water, which is based on his experience in prison, shows human desires from the senses of the body, significantly different from previous works. Th, his novel is severely criticized by Lim Hwa and other KAPF writers as a deviation from the perspective of right-wing. However, this kind of evaluation o Kim Nam-cheons creation style doesn’t focus on his work. Th, this paper analyze how the characters in the novels of Kim Nam-cheon focused on the new laboring movement by men intelligence activities and slogans have changed in Water. Just like Deleuzes to discover aesthetic meaning in paintings, it is attempted to discover aesthetic meaning in Water in 1930s by Kim Nam-cheon, The methodology that Kim Nam-cheon to change his creation style shows Deleuzes philosophical perspective of becoming. Deleuzes philosophical perspective, such like Becoming an Animal and even A Body without Organs is shown in Kim Nam-cheon’s depiction of the character through the feelings of the body. T, it is possible to capture new forces through Deleuzes perspective beyond the physiological sense of the body and identify the point of escape to a new image through anti-reproduction. This new reading shall be the beginning of the new interpretation on Kim Nam-cheon’s works, which shall the rebirth of his works.