Discrepancies in Dapagliflozin Response in Terms of Glycemic Control and Body Weight Reduction

전지은 대한내분비학회 2025 Endocrinology and metabolism Vol.40 No.2

Background: Dapagliflozin, a sodium-glucose cotransporter 2 inhibitor, reduces hyperglycemia and obesity by inhibiting renal glucose reabsorption. This post hoc study evaluated clinical factors influencing patient response to dapagliflozin. Methods: The analysis focused on patients treated with dapagliflozin (10 mg/day for 52 weeks) within the randomized, double-blind, parallel-group BEYOND trial. Adequate glycemic control (GC) was defined as a reduction in glycated hemoglobin (HbA1c) of ≥1.0% or the achievement of an HbA1c level <7.0% at week 52. Significant weight loss (WL) referred to a reduction in body weight of ≥3.0% at week 52. Participants were classified into four groups based on their GC and WL responses: GC+/WL+, GC+/WL−, GC−/WL+, and GC−/WL−. Results: Among dapagliflozin recipients (n=56), at 52 weeks, HbA1c had decreased by 1.0%±0.8% from baseline, while body weight had declined by 2.4±3.1 kg. Overall, 69.6% of participants achieved GC+, and 57.1% achieved WL+. Male sex and shorter diabetes duration were significantly associated with achieving GC+. Conversely, higher estimated glomerular filtration rate was significantly linked to WL+. The only factor significantly associated with both GC+ and WL+ was shorter diabetes duration (odds ratio, 0.81; 95% confidence interval, 0.68 to 0.97; P=0.023). The GC+ and WL+ groups exhibited favorable responses beginning soon after dapagliflozin therapy was initiated. Furthermore, HbA1c decline was more strongly associated with reduction in visceral fat than with WL. Conclusion: A short duration of diabetes and early response to treatment appear to represent key factors in maximizing the benefits of dapagliflozin for blood glucose and weight management.

2010년대 간첩영화로 본 분단의 형상화 연구 –영화 <강철비>와 <공작>은 어떻게 ‘北’을 타자화하는가?–

전지은 한국언어문화학회 2019 한국언어문화 Vol.0 No.70

Korean-style blockbuster films are most often based on “Spy.” After 2010, ‘Split Movie’ became ‘Spy Movie.’ Now it means that spies are heroes of South Korea. ‘division’ is Korea’s identity can be traced. A generation which has grown up since the Cold War and neoliberal era is not free from this situation. This study analyzes “espionage films” at the end of the 2010s and looks at how we typed “North Korea.” At the same time, it also looks at how ‘South Korea’ is organized. In particular, movie, <Steel Rain>, 2017 and 2018 film, <The Spy Gone North> is well at the box office. And have one thing in common with the nuclear issue. The two movies also deal with “South Korea” and “South Korean Agent” as much as “The Spy” and “North Korean Agent.” This makes it suitable for looking at the process of boundary, exclusion and typography. Movies allow the audience to suture psychologically. Of course, this suture ends up being incomplete and lacking. To mislead as if it were complete. Through the process of producing, repeating, replaying and implementing the object of espionage “outside the line,” the audience creates the image of “South Korea inside the line.” You can interpret why it is still an ‘espionage story’ in this very part. And at the same time, we can predict how we’re going to do ‘espionage stories’ in the future. It is unclear whose intention is to repeat the “espionage film.” That’s why powdered research is so much more valuable. Even temporary and fantastic sutures can be “real” if they are repeated over and over. 한국형 블록버스터 영화에서 가장 반복적으로 재현되는 소재는 단연 ‘간첩’이 다. 2010년대를 기점으로 ‘분단영화’의 다른 이름은 ‘간첩영화’가 되었고, 이제 간 첩은 한국형 영웅기표가 되어 하나의 상징성을 획득했다. 이미 한국이라는 국가적 정체성은 ‘분단’이라는 상황을 전제하여 성립한 것이며, 냉전과 신자유주의 시대 이후에 태어나고 성장한 세대라 할지라도 이러한 민족적 상황에서 자유롭지 못하 다. 본 연구는 2010년을 마무리하는 시점에서 반복적으로 재현되는 ‘간첩’의 양상 을 분석하면서 우리가 어떻게 ‘북한’을 타자화하며, 동시에 ‘남한’을 구성해 가는 지 살펴보는 것을 목표로 한다. 특히 2017년와 2018년에 각각 개봉한 <강철비>와 <공작>은 대중적 호응과 소 통에 성공했다는 공통점 외에도 ‘핵 문제’의 시작과 종결이라는 시대적 연결고리 를 가지며 극적인 서사맥락을 공유한다는 점에서 인상적이다. 또한 두 영화는 ‘간 첩’과 ‘북한 요원’의 무게감만큼이나 ‘북’을 대하는 ‘남한’과 ‘남한 요원’의 모습을 대등하게 다루고 있기 때문에 경계와 배제, 그리고 타자화의 과정을 살펴보는 데 적합하다. 영화는 관객으로 하여금 심리적 봉합을 유발한다. 물론 이 봉합작용은 불완전하고 결핍된 것들을 매듭지어 완전한 것처럼 오인하도록 한다. 관객은 ‘선 밖’에 있는 간첩이라는 ‘타자’를 생산하고 반복하고 재생하고 구현하는 과정을 통해 ‘선 안쪽’에 있는 ‘남한’과 ‘우리’의 모습을 조직해나가고 있는 것이다. 바로 이 지점 에서 왜 아직도 ‘간첩 이야기’인지 해석할 수 있으며, 동시에 앞으로 어떻게 ‘간첩 이야기’를 해 나갈지에 대한 가늠이 가능하다. ‘간첩영화’의 반복이 누구의 의도인 가 하는 점은 불분명하며, 그 불분명함 때문에 본 연구의 시도는 더욱 큰 가치를 지닌다고 생각한다. 일시적이고 환상적인 봉합이라 하더라도 수없이 반복된다면, 그것이 이미 하나의 ‘실재’일수도 있기 때문이다.

간첩영화로 본 2010년대 새로운 내셔널리즘 주체성 연구—영화 '의형제'와 '베를린'을 중심으로

전지은 대중서사학회 2018 대중서사연구 Vol.24 No.4

한국 대중영화에서 가장 인기 있는 소재가 무엇인지 꼽는다면 단연 ‘간첩물’이다. 이미 한국이라는 국가적 정체성은 ‘분단’이라는 상황을 전제하여 성립한 것이며, 냉전과 신자유주의 시대 이후에 성장한 세대 역시 그러한 역사적 자장의 영향력에서 자유롭지 못하다. 본 연구는 소통과 종전이라는 대북인식의 변화과정에서 대중서사가 어떻게 ‘간첩’을 구현하는지 분석하며 2010년대 한국인의 내셔널리즘 주체성을 살펴보는 것을 목표로 한다. 영화라는 매체가 가지고 있는 통합적 성격은 한 시대를 관통하는 자본과 정치적 의도, 소비자인 관객들의 욕망을 진단하는 공론장이 되어준다. 특히 본 연구에서 분석대상으로 선택한 <의형제>와 <베를린>은 간첩 자체를 중심인물로 전면화했을 뿐만 아니라 높은 대중적 호응도를 확보했다는 점에서 2010년대 영화의 바로미터라 할 수 있다. 두 영화는 간첩을 ‘북의 표상’으로 해석하려는 기존의 관점에서 나아가 그들에게 주체성을 부여하는 과정을 통해 ‘북한’이라는 기표 자체를 응시하고 횡단하려는 시도를 한다. 또한 버디무비의 형식을 띠며 그들과 낭만적인 연대를 형성하는 중년의 남한 요원들을 등장시킨다. 공권력에서 밀려난 과거의 요원들과 북한간첩의 관계 자체는 영화가 주체의 분열을 어떤 방식으로 봉합하려 하는지를 선명하게 드러낸다. 두 영화의 중심인물들을 분석하는 과정을 통해 2010년대를 살아가는 우리들에게 여전히 간첩영화가 의미 있는 이유가 무엇인지 추론해 볼 수 있다. 동시에 네이션적 주체성은 어떻게 구성되고 어떻게 변화하며, 스크린은 어떻게 다시 대중의 베일로 기능하는지도 확인할 수 있다. 결국 두 영화는 끝맺지 못한 여정에 놓인 주인공들의 불완전하고 모호한 결말을 통해 우리가 분열과 봉합의 역설자체를 관통하고 있는 세대임을 ‘응시’하게 해준다.

외상 후 스트레스 장애에 대한 Feldenkrais Method의 인지적 치유에 관한 고찰

전지은 한국무용교육학회 2022 한국무용교육학회지 Vol.33 No.1

This study presented the Feldenkrais Method as a method to heal stressful behaviors and various emotions in PTSD, among the learning characteristics, data from previous studies were collected and used with the main focus on cognition according to brain-memory based on the cranial neural plasticity. Self-awareness learning through movement of the Feldenkrais Method uses the functions of the brain to perceive the movement, due to the activation of the brain nervous system in the process of receiving, storing, and thinking of efficient movement patterns, body relaxation and functional movement are linked to cognitive healing effects. And have the ability to think, judge, and plan that can be applied and applied to the another environment, a posture that is aware of the movement of the body’s musculoskeletal system creates a cognitive insight that can look into the mind and emotions as they are, and can be accommodated, controlled, and maintained through the process. Cognitive experiences create efficient learning and optimal conditions with minimal energy, the meaning is that the qualitatively improved inner sense can be converted easily and quickly using less energy when functionally reconverting a habitual pattern. Subjects of PTSD who have learned this are reorganized into a newly learned memory mechanism, freed from excessive tension, anxiety, and fear, and stored and maintained continuously and for a long time. Therefore, it is possible to alleviate and heal various problems such as physical and psychological tension, postural atrophy and deformity, pain caused by postural atrophy and deformation, restriction of movement, extreme anxiety, and excessive startling response in PTSD through of the Feldenkrais Method. In conclusion, the Feldenkrais Method is self-awareness learning that can selfaware, regulate, and maintain the body, mind, and emotions, and has the cognitive healing ability to alleviate and heal various physical and psychological problems that appear in PTSD.

편마비 환자에 대한 Feldenkrais Method의 인지적 치유 가능성에 관한 고찰

전지은 한국무용교육학회 2023 한국무용교육학회지 Vol.34 No.1

This study approached the method of image training through the integration of proprioception and imagination based on cranial neuroplasticity among learning characteristics in order to find out whether the Feldenkrais Method, a cognitive healing program, can help hemiplegic disorders. Therefore, various previous research data were collected and used with the significance of proving that the program can give cognitive healing and effects to the physical senses and functional disorders of hemiplegic patients. The cognitive healing goal of the Feldenkrais Method for hemiplegia disorder was to re-activate the independent movement of each body part, to efficiently perform functional tasks in real life, and to lead a healthy life with balanced posture and stable walking. During the repetitive learning of movement through self-awareness, the brain integrates, recognizes, and embodies sensory and motor functions of each part of the body through sensory and motor nerves, improving immediate response to stimuli, appropriate timing, coordination, and mobility, and stability. In addition, it helps activate neurons by imagination to react with body sensation and motor nerves, and image training using VR virtual reality can also help promote visual cerebral cortex, improving exercise function and performance, thereby promoting balance and stability of the body. The method of image training through the integration of proprioception and imagination inherent in the Feldenkrais Method helps activate neurons, which are brain cells, and is considered to have its ability and effect by integrating somatic sensory/motor nerves and sensory/motor functions. Thus, the Feldenkrais Method proves to be a cognitive healing program that can have a positive impact on hemiplegic disorders.

ESG의 규제동향 및 대응방안

전지은,이상훈 대한산업공학회 2022 ie 매거진 Vol.29 No.4

무용을 통한 자기이미지 정립에서 몸의 개념

전지은 한국무용교육학회 2023 한국무용교육학회지 Vol.34 No.4

This study is significant in establishing a self-image in dance by referring to the meaning of Merleau-Ponty's sensory body and flesh(la chair) experience after clarifying the meaning of body perception and self-image through Hanna's somat- ic. The research method attempts to analyze literature and previous research data. As a result of the perspective of body perception and self-image through Hanna, T. somatic, the cognitive body from a one-way perspective increases one's dignity, value, pride, and confidence, and has the flexibility of thinking and problem-solving skills to understand and empathize with others. The body from a three-way point of view rec- ognizes material objects, and sees the body's sensory movement memory loss and the rationality of science as a problem of blind thinking. Thus, it explores another self-image through the cognitive experience and learning of sarcal from a two-way perspective, enhancing the value of self-image along with the vitality of new life. Summarizing the results of referring to the meaning of the body of Merleau- Ponty and Hanna, T., the two scholars study the body based on neuroplasticity, but somatic uses proprioceptive sensitivity and touch, and Merleau-Ponty uses proprioceptive sensitivity and synesthesia. In addition, the semantic expression ‘here now’ which represents time and space, Merleau-Ponty means spatiality, and somatics means temporality, so it varies from individual to individual. However, in the sarcal experience, the two scholars have the same views, so it means a cog- nitive body by activating communication through the interaction of the body and brain as the source of senses that can be felt through physical contact. Therefore, the cognitive habits and senses of establishing a subjective self-im- age based on neuroplasticity can be sublimated from dance to creative and original expressive art. In addition, the new experience and cognitive learning of sarcal establishes another self-image, and in dance, it is socialized into creative expres- sive arts such as improvisation dance, play, and movement therapy. After that, it is expected to develop into a more creative and future-oriented dance art than now through communication and convergence with more diverse media.

무용 심상에서 뇌가소성과 양자역학 원리의 관계 고찰

전지은 한국무용교육학회 2024 한국무용교육학회지 Vol.35 No.4

This study understands important images in dance behavior and explains brain nerve plasticity, the principle of images. In quantum mechanics, we describe the principles of quantum superposition and entanglement, uncertainty, and comple- mentarity and investigate the relationship between the principles of imagination of dance and those of quantum mechanics. The research method used literature and previous research data. The conclusion is as follows. First, complementarity is impossible to predict because ambivalence coexists, and the result is determined according to observation conditions. On the other hand, sight and imagery are complementary, and since they react and activate areas of the brain's visual cortex, brain nerve plasticity makes a significant change in the body. However, the results cannot be predicted because plasticity changes due to changes in the action of neurotransmitters and neuroregulators inside the body depending on the dancer's mindset or environmental conditions during im- age training. Second, the principle of uncertainty and the image of dance cannot measure position, speed, energy, and time at the same time to know the amount of exercise. And since the momentum and the wavelength are inversely proportional to each other, and the brightness and sound intensity of the color are different depending on the speed and intensity of the vibration (frequency), the reaction or result can be predicted probabilistically depending on the degree of stimulation. Wave energy (movement) through an image meets air molecules and affects the frequency by generating new energy. Third, quantum superposition and entanglement have the principle of transmit- ting various information at once at the speed of light, even over distances beyond space and time. Dance imagery is a training through imagination, which promotes the rewiring of the brain nerves, connecting and responding to new circulatory processes in the body and brain through the rapid transmission of the sensorimo- tor nervous system and the transmission of new information such as multisensory association areas, emotions, memories, and consciousness. The cognitive activity through imagery is manifested in smooth movements, rich emotions, and emo- tional expressiveness in the dancer, and in the encounter with the new stage, it stirs the audience's heart with a frequency that is sublimated into artistry. Therefore, they are similar in the principle of transmitting energy containing meaning and interpretation rather than conveying reality in information transmission.

무용의 인지적 움직임과 트라우마 치유의 관계성

전지은 한국무용교육학회 2025 한국무용교육학회지 Vol.36 No.1

This study was meaningful in explaining the cognitive, emotional, and sensory motor dimensions of dance on the body and emotions of trauma subjects, and to find out that it is thought to have a healing effect. Feldenkrais principles and char- acteristics, a self-awareness program, were used due to the physical and emotional characteristics of trauma subjects, and the limitations of the study were on Felden- krais movement principles and methods. On a cognitive level, when performing cognitive dance movements using the principles and methods of Feldenkrais movement, one promotes balance and sta- bility of mind and body through inner communication, and confidence and a sense of accomplishment are improved. In addition, mutual concentration and cooper- ation with others are promoted, and trust formation and empathy are improved through understanding and consideration. Therefore, since a new brain nerve net- work is formed, the trauma subject's mind and emotional stability have cognitive healing effects such as free movement and emotional expression. On an emotional level, trauma subjects change their emotions according to the muscle tension of the body part, and when performing a dance movement using the principles and methods of Feldenkrais movement, they focus on their senses, emotions, facial expressions, and actions to recognize, understand, and accept the meaning of internal conflict. In addition, because the memories accumulated in one's unconscious are expressed outward through their inner senses and emotions, they control and maintain their own senses and emotions, resulting in a healing effect. In terms of sensory motor, trauma subjects must understand and heal the meaning by summoning their memories and emotions to reality in order to es- cape from frightening situations, events, and fearful emotions. When performing a dance movement using the principles and methods of Feldenkrais movement, the body releases fearful memories and emotions through creative and flexible thinking, free from consciousness, stereotypes, and habits. In addition to internal communication with oneself, the sense of intrinsic acceptance, which regulates and maintains the senses and functions of the muscle and skeleton, is improved. This changed body and brain appear as a positive response to both cognitive and emotional dimensions.

무용수를 위한 Feldenkrais 인지치유프로그램 설계

전지은 한국무용교육학회 2025 한국무용교육학회지 Vol.36 No.2

As science and technology rapidly advance, there is growing interest in ap- proaches that enhance human physical and cognitive capabilities through inte- grated methods. This study explores the application of the Feldenkrais Method as a cognitive healing program aimed at improving self-awareness, physical func- tionality, and performance ability in dancers. In the first stage of the program, dancers cultivate self-awareness by under- standing the anatomical structure and function of their bodies, and by recognizing their physical conditions and habitual movement patterns. In the second stage, despite individual differences in perception and experi- ence, the activation of sensorimotor systems facilitates muscle relaxation, increas- es flexibility and range of motion, and improves postural stability. These changes contribute to enhanced movement efficiency and execution. In the final stage, dancers develop organic cognitive patterns that foster cre- ative thinking, expressive movement, flexible interpersonal communication, and emotional regulation. The program also supports injury prevention and self-heal- ing processes. These outcomes suggest that the Feldenkrais-based cognitive heal- ing program can serve as a foundational framework for future dance education methodologies and performance enhancement strategies.