361 research outputs found
Research on the Poetry of Han Yu
No full text학위논문(박사) -- 서울대학교 대학원 : 인문대학 중어중문학과, 2024. 8. 강민호.This paper aims to provide a comprehensive study of the poetry of Han Yu(韓愈), a representative poet of the Mid-Tang(中唐) period. Han Yu made significant contributions to both poetry and prose, and his poetry is particularly noted for leading new changes, serving as a bridge between Tang(唐) and Song(宋) poetry. While Han Yus poetry is often considered experimental, it does not exhibit only one characteristic. However, existing research has primarily focused on the experimental style of his poetry, highlighting the new changes Han Yu attempted. This research direction is limited to certain aspects of Han Yus poetry and has not ventured beyond specific conclusions, making it difficult to claim that a comprehensive study of Han Yus poetry has been achieved. Therefore, this paper seeks to overcome the limitations of previous research, which focused predominantly on the experimental features of Han Yus poetry, by analyzing his work through themes(題材), creative attitudes(創作態度), forms(形式), and styles(風格) to achieve a holistic understanding of Han Yus poetry.
After the An-Shi Rebellion(安史之亂), the decline of the aristocracy led to the emergence of a new ruling class, the rising scholars and officials. These new elites(新興士大夫) experienced the grim realities of national division and the deterioration of peoples lives firsthand. They expressed their emotions more candidly, contrasting with the restrained vocabulary and emotions of traditional poetry that aimed to maintain a lofty poetic quality. They sought to advocate for national unity and to curb the oppression and exploitation of the common people. This literary perspective eventually led to the Ancient Literature Movement(古文運動). The Fu-ku(復古) trend, which began before the Mid-Tang period, further developed during this time with an emphasis on the practicality of writing. Additionally, during the Mid-Tang period, a climate of accepting various ideas and cultures emerged, leading to changes in poetic style. There were attempts to break away from formalized poetic forms(詩風) and explore new styles. Amid this atmosphere of seeking diversity, Han Yu not only inherited the characteristics of traditional poetry but also partially adopted the styles of Li Bai(李白) and Du Fu(杜甫), further developing aspects that had not been previously highlighted, thereby establishing his own unique style.
Han Yu explored various themes in his poetry, including Intercourse Poetry(交遊詩), Poetry of Thing(詠物詩), Poetry of Landscape and Poetry from the heart(敍景詠懷詩), Poetry on historical themes(詠史詩) and ≪Qin-cao≫(琴操). In Intercourse Poetry, he examined broad social interactions and confirmed his engagement in mental and literary exchanges by creating poetry with people who had similar literary tendencies or rich scholarly knowledge. In Poetry of Thing, he observed themes traditionally used in classical poetry from new perspectives and boldly included subjects that were commonly seen in daily life but considered lacking in literary value, thus expanding the expressive domain. Furthermore, encountering new objects from the southern regions expanded the thematic scope of his poetry and introduced an aesthetic of Method of Appreciation of the Ugly(以醜爲美). In Poetry of Landscape and Poetry from the heart, he mobilized rich imagination to create works with a distinct atmosphere, different from the solemnity or elegance of traditional poetry, reflecting psychological changes related to personal experiences. Han Yu also made new attempts in themes and styles through Poetry on historical themes and ≪Qin-cao≫. Although he preferred Ancient poetry(古體詩), he created Poetry on historical themes in the regulated form of Seven-character-quatrain Series Poems(七言絶句), fitting the literary atmosphere of the time, and expanded the narrative by quoting lesser-known images or events. Moreover, by using the ≪Qin-cao≫ of Chao Weng(蔡邕), he actively elaborated on the content of Original poem(原詩) as if he were a director, thus actively expressing his intended messages. In this way, Han Yu expanded the thematic range of poetry, demonstrating his unique handling of both traditional and expanded themes.
Han Yus poetry exhibited two main creative attitudes: utilitarianism(效用性) and playfulness(遊戲性). First, as a rising scholar-official, Han Yu advocated for the restoration of the collapsed social order by promoting the Confucian concept of Dao(道統論) through his writing. He reflected Confucian principles in his poetry, often portraying the poets idealized image and emotions indirectly through his verses. This approach generally manifested as idealistic portrayals of Confucian scholars and critiques of contemporary societal issues. Additionally, Han Yu criticized the detrimental effects of the flourishing of Buddhism and Daoism and advocated for their rejection. This indicates that Han Yu maintained the utilitarian value of poetry.
On the other hand, Han Yu also employed a playful attitude in his poetry. His works are marked by humor(諧謔性), as he often caricatured himself and others, depicting physical flaws or unusual behaviors. However, the playfulness in Han Yus poetry was not solely focused on amusement. He used humor to express the sorrow of his unfortunate situations or chaotic social conditions, thus maximizing the expression of his emotions. This indicates that Han Yus poetry often combined a didactic attitude with a playful one. Additionally, Han Yu created many Lian Ju Shi(聯句詩 or Joint Sentences Poem) with individuals sharing similar literary tendencies. These collaborative works were originally used as a playful medium, but Han Yus approach emphasized competition, such as changing the number of lines or altering the order of contributions, highlighting his literary talent. Han Yu thus maximized the playful aspect of collaborative poetry.
The format of Han Yus poetry was analyzed in terms of Yi wen wei shi (以文爲詩, writing in prose style) and the characteristics of different poetic forms. The so-called Yi wen wei shi approach, writing poetry in prose style, is characterized by its blending of poetic and prose elements. This aspect was evident in his method of conceptualizing poetic ideas, utilizing the Fu(賦) style of narration, which closely resembled prose composition. Additionally, he intentionally disrupted the rhythmic patterns of poetry by using unconventional line structures and a large amount of rhetorical devices, thereby highlighting the prose-like characteristics of his poetry. This approach added originality and showcased his literary talent.
Discussion of poetic forms was divided into Ancient and Modern-style Han Yu believed that using Ancient Verse was most suitable for attempting various new changes in form due to its lack of stringent constraints. Existing research has focused on Han Yus prolific use of Ancient Verse, but this paper examined the significant proportion of long-form(長篇) works within this category. Han Yu also created numerous Miscellaneous poems(雜言詩) to express his emotions openly and showcased his literary talent by employing complex rhymes and extended stanzas. Even within Ancient Verse, he used taboo-breaking techniques to expand its creative scope.
In contrast, Han Yus Modern-style Verse showed different characteristics. His Modern-style Verse, mostly created later in his life, generally adhered to the formal rules of rhyme and tone. This suggests that, with a stable life in his later years, his psychological state also changed. Furthermore, since Du Fu had already highlighted his distinctive features in Modern-style Verse, Han Yu may have focused more on expressing his identity through Ancient Verse rather than further developing Modern-style Verse.
While Chinese literary history and previous research have evaluated Han Yus poetry primarily as experimental, a comprehensive review of his works and historical evaluations suggests a broader scope. It can be inferred that Han Yus poetry encompasses both experimental and conventional styles. Based on this, this paper divided Han Yus poetic style into experimental and conventional categories and examined each practical aspect. It was found that the experimental and conventional elements in Han Yus poetry were generally distinguished by the use of metaphor and exaggeration and rhetorical techniques.
Han Yus poetry influenced literature across the Mid-Tang, Late Tang(晩唐), Song periods, and even extended to Koryo(高麗) and the Chosun(朝鮮) Dynasty, leaving the following literary significance: First, it expanded the thematic range of poetry by using diverse subjects. Second, it pursued the prose-like and rhetorical aspects of poetry by applying prose techniques. Third, it introduced new vocabulary. Han Yu opposed the use of previously employed poetic language and sought new expressions, which later generations either adopted or partially quoted. This indicates that many of Han Yus innovations were actively embraced by later periods.
Through this discussion, this paper has supplemented aspects not previously covered in research on Han Yus poetry and advanced a comprehensive understanding of his work. It is hoped that this will lead to a re-evaluation of Han Yus poetry.본고에서는 中唐 시기 詩歌를 대표하는 韓愈의 시에 대한 총체적인 연구를 하고자 한다. 한유는 시와 산문에서 뛰어난 업적을 남겼으며 특히 시의 경우, 唐詩와 宋詩의 교량 역할을 하였다고 평가받을 만큼 새로운 변화를 선도하였다. 흔히 한유 시는 기험하다고 평가되고 있지만 그의 시는 한 가지 특징만 나타나는 것이 아니다. 그럼에도 불구하고 기존의 연구에서는 주로 기험한 풍격을 중심으로 한유가 시도한 새로운 변화를 중점적으로 다루었다. 이러한 연구 방향은 한유 시의 부분적인 특징에 국한한 것으로 일정한 결론을 벗어나지 못하였기 때문에 한유 시를 총체적으로 살펴보았다고 말하기 어렵다. 따라서 이 논문은 한유 시의 기험한 특징을 연구하는 데 치중했던 기존 연구의 한계를 극복하려는 노력의 일환으로 한유 시를 제재, 창작 태도, 형식, 풍격으로 나누어 분석함으로써 한유 시에 대한 종합적인 연구를 이루고자 하였다.
安史의 亂 이후 문벌귀족이 몰락하고 새로운 지배층인 신흥사대부가 등장하면서 지배층의 변화가 일어났다. 신흥사대부는 국가의 분열과 민생의 피폐라는 암울한 현실을 직접 체험한 사람들이었다. 이들은 자신의 감정을 가감 없이 드러냄으로써 절제된 어휘와 감정만을 표현하여 시의 고상한 품격을 유지하려던 기존의 시문과는 다른 양상을 펼쳤다. 그리하여 나라의 통일을 주장하고 민중에 대한 호족의 억압과 착취를 억제하고자 하는 마음을 모두 시문에 담아내었다. 이러한 문학적 견해는 古文運動으로 이어지게 되었다. 중당 시기 이전부터 이루어졌던 복고주의적 사조는 신흥사대부의 등장과 함께 중당 시기에 이르러 문장의 실용성을 강조하면서 한층 더 발전하게 되었다. 또한, 중당 시기에는 다양한 사상과 문화를 받아들이는 분위기가 형성되면서 시풍에도 변화가 나타났다. 정형화된 시체에서 벗어나 새로운 시풍을 모색하려는 시도가 이루어지게 된 것이다. 다양성을 추구하는 분위기 속에서 한유는 기존 시의 양상을 계승하였을 뿐만 아니라 이백과 두보의 시를 부분적으로 계승하여 이전에는 주목받지 못했던 측면을 한층 더 발전시킴으로써 자신만의 색깔로 일가를 이루고자 하였다.
한유는 교유시, 영물시, 서경⋅영회시, 영사시, 琴操 등 다양한 제재를 다루었다. 교유시에서는 폭넓은 교유관계를 살펴볼 수 있었을 뿐만 아니라 비슷한 문학적 성향을 가진 사람들이나 풍부한 학문적 지식을 갖춘 사람들과 함께 시를 창작함으로써 정신적⋅문학적 교류를 맺은 사실을 확인할 수 있었다. 영물시에서는 전통시가에서 보편적으로 사용되었던 제재를 새로운 관점으로 관찰하였고, 일상에서 흔히 보고 듣고 경험할 수 있는 것들이지만 시의 제재로 사용하기에는 문학적 가치가 없다고 판단되었던 제재까지도 과감하게 사용함으로써 표현 영역을 확장하였다. 또한, 남방 지역으로 폄적된 후 처음 접해본 사물은 제재의 영역을 확장하였을 뿐만 아니라 한유 시에 以醜爲美 양상이 나타나도록 만들었다. 서경⋅영회시에서는 풍부한 상상력을 동원하여 엄숙함이나 전아함을 추구하는 작품과는 확연히 다른 분위기를 자아냄으로써 전반적으 로 독특한 특징을 드러내었는데, 이것은 경험에 따라 달라지는 심리적 변화와 관련이 있었다. 그 밖에 한유는 영사시와 금조를 통해 제재 측면에서의 새로운 시도를 하였다. 그는 고체시를 선호하였음에도 불구하고 칠언절구로 영사시를 지어 당시의 문학적 분위기에 맞게 창작하였고, 대중적으로 알려져 있지 않는 이미지나 사건을 인용하여 서술 내용을 확장시켰다. 또한, 채옹의 ≪금조≫를 활용하여 마치 자신이 연출가가 된 듯 원시의 내용에 변화를 주어 자신이 표현하고 싶은 내용을 적극적으로 서술하였다. 이로써 한유는 전반적으로 시의 제재 영역을 확장함으로써 전통적인 제재와 확장된 제재를 개성적으로 운용하였음을 알 수 있었다.
한유 시에는 크게 효용성과 유희성 두 가지 창작 태도가 함께 나타났다. 먼저, 한유는 신흥사대부로서 붕괴된 사회기강을 다시 바로잡기 위해 유교적 이념에 기반한 道統論을 내세웠으며 문장을 통해 유교의 도를 표현하고자 하였다. 한유는 문장뿐만 아니라 시에서도 以詩爲敎 경향을 드러내었는데, 주로 그 도를 체화한 시인의 모습과 감정을 읊으면서 유교의 도를 간접적으로 표현하였다. 이러한 양상은 대체로 이상적인 유학자로서의 모습, 세태에 대한 비판 등의 내용으로 나타났다. 또한, 불교와 도교의 성행에 따른 폐해를 지적하며 불교와 도교를 배척하기를 주장하였다. 이로써 한유가 시의 효용성을 견지하였음을 알 수 있었다.
한편 한유는 시를 유희적인 태도로 창작하기도 하였다. 그의 시에는 해학성이 두드러지게 나타났다. 스스로를 희화화하여 자신의 단점을 여과 없이 드러내었을 뿐만 아니라 심지어 타인을 놀리는 듯 상대의 신체적 결함이나 특이한 행동, 불리한 상황을 있는 그대로 묘사하였다. 그러나 한유 시에 나타나는 유희성은 오로지 유희에만 치중되어 있는 것은 아니었다. 한유는 자신이 처한 안타까운 상황이나 혼란스러운 사회 등에 대한 비애를 해학으로 풀어나감으로써 그 감정의 표출을 더욱 극대화하였다. 이는 유희 속에 진지함이 있는 것으로, 한유 시에는 이처럼 교훈적인 태도와 유희적인 태도가 병존하는 경우가 많았다. 그 밖에 한유는 자신과 비슷한 문학적 성향을 가진 인물들과 다수의 연구시를 창작하였다. 연구시는 2명 이상의 참여자가 성률과 대우를 맞추며 한 수의 시를 짓는 것으로, 본래 유희적인 수단으로 사용되었다. 그러나 기존의 연구시에서는 한 사람이 2구씩 또는 4구씩 규칙적으로 창작하였다면, 한유의 연구시에서는 서로 경쟁하듯 句數에 변화를 주거나 상대방의 순서를 빼앗아 창작하는 등 문학적 재능을 다투는 경쟁의식이 두드러지게 나타났다. 한유는 이러한 방식을 통해 연구시의 유희성을 극대화하였다. 이로써 한유의 시 창작 태도에는 효용성과 유희성이 함께 나타난다는 사실을 확인할 수 있었다.
한유 시의 형식은 以文爲詩와 詩體별 특징으로 나누어 살펴보았다. 이른바 문장의 작법으로 시를 짓는 이문위시는 시를 산문화하였다는 것에 가장 큰 특징이 있다. 이러한 양상은 먼저 시상을 구상하는 방식에서 살펴볼 수 있었다. 한유는 사실을 순서대로 서술하거나 다양한 묘사를 나열하듯 표현하는 賦體의 수법을 활용하였는데, 이것은 문장을 구성하는 방식과 매우 흡사하였다. 그 밖에 정격에서 벗어난 句式을 통해 의도적으로 시의 운율을 파괴하여 시에 산문적인 특색이 드러나도록 만들었고 허사와 의론을 다량으로 사용함으로써 문장의 필치가 더욱 두드러지도록 만들었다. 이로써 정제된 시의 형식에 변화를 더하여 독창성을 살리는 동시에 자신의 문학적 재능을 드러내고자 하였다.
시체별 논의는 古體詩와 近體詩로 나누어 살펴보았다. 한유는 형식적으로 여러 가지 새로운 변화를 시도하기 위해서는 격식에 크게 제약받지 않는 고체시를 활용하는 것이 가장 적합하다고 여겼다. 이에 기존 연구에서는 한유가 고체시를 다작한 양상에만 주목하였지만, 본고에서는 고체시 중에서도 장편으로 지은 작품이 더 높은 비중을 차지하고 있다는 점을 고찰하였다. 또한, 한유는 잡언시를 다수 창작하여 자신의 감정을 거침없이 드러내고자 하였고, 險韻을 사용하거나 장편시를 一韻到底함으로써 문학적 재능을 과시하고자 했음을 확인하였다. 심지어 한유는 고체시에서도 금기하는 구법을 사용함으로써 고체시의 창작 영역을 더욱 넓히는 모습을 보였다.
한편 한유의 근체시는 고체시와는 다른 양상이 나타났다. 그의 근체시는 주로 만년에 많이 창작되었으며, 押韻이나 平仄 측면에서 대체로 근체시의 정격을 준수하였다는 점을 확인할 수 있었다. 이러한 양상을 통해 그가 만년에 안정적인 생활을 하게 되면서 심리적으로도 변화가 일어났다는 점을 알 수 있었다. 또한, 두보가 이미 근체시에서 그의 두드러지는 특색을 드러낸 상황이었기 때문에 한유는 근체시에서의 한층 더 심화된 발전을 이루려고 노력하기보다는 오히려 고체시를 통해 자신의 정체성을 드러내려고 한 것으로도 해석할 수 있었다.
중국 문학사와 선행 연구에서는 한유 시의 대표적인 풍격을 기험으로 평가하였지만, 그의 전체 작품과 역대의 평어를 두루 살펴보면 이에 한정되지 않는다. 이러한 점을 미루어 볼 때, 한유 시는 기험과 평이 두 풍격을 모두 가지고 있음을 추측할 수 있었다. 본고에서는 이러한 사실을 바탕으로 한유 시의 풍격을 기험과 평이로 나누어 각각의 실천 양상을 고찰하였다. 이를 통해 한유 시에 나타나는 기험과 평이는 대체로 비유와 과장, 포서수법 사용에 따라 구분되었다는 것을 알 수 있었다.
한유 시는 중⋅만당과 송대, 고려⋅조선에 두루 영향을 끼쳤으며 다음과 같은 문학사적 의의를 남겼다. 첫째, 다양한 제재를 사용하여 시의 제재 영역을 넓혔다. 둘째, 산문의 작법을 시에 적용하고 의론의 요소를 사용함으로써 시의 산문화와 의론화를 추구하였다. 셋째, 用字 사용이다. 한유는 이전에 사용된 시어의 사용을 반대하고 새로운 시어와 표현을 추구하였는데, 후대 사람들은 한유의 표현을 그대로 사용하거나 부분적으로 인용하였다. 이러한 점은 한유가 시도한 여러 가지 변화가 후대에 이르러 적극적으로 수용되었다는 점을 말해준다.
본고는 이상의 논의를 통해 한유 시의 기존 연구에서 고찰하지 못한 부분까지 보완하였고, 한유 시에 대한 전반적인 이해에도 진전을 기하였다. 이를 기반으로 한유 시에 대한 평가가 재조명되기를 희망한다.국문초록 i
일러두기 v
제1장 서론 1
제1절 연구 목적 1
제2절 선행연구 검토 5
제3절 연구 범위와 방법 13
제2장 한유 시의 판본과 창작배경 17
제1절 한유 시의 판본 17
제2절 한유 시의 창작배경 32
1. 한유의 생애 33
2. 시대적 배경 43
1) 사회 분위기의 변화 43
2) 복고주의적 사조 46
3) 다양한 사상과 문화의 섭렵 52
3. 이백과 두보가 끼친 영향 61
제3장 한유 시 제재상의 분류와 그 특징 67
제1절 교유시: 문인 집단의 유대감 형성 및 강화 69
1. 대상에 따른 시체 선택과 그 의미 69
2. 한맹시파 일원과의 인생관 및 문학관 공유 74
3. 문인으로서의 문학적 재능 추구 80
제2절 영물시: 제재 영역의 확장과 以醜爲美의 추구 90
1. 전통적인 제재의 운용 93
2. 일상적인 제재의 확장 102
3. 남방 폄적 시기의 영물시 특징 108
제3절 서경⋅영회시: 경험에 따른 심리적 변화 117
1. 주변 경물에 대한 세심한 관찰력 119
2. 과장된 표현을 통한 강렬한 감정 표출 122
제4절 기타 126
1. 영사시: 제재의 확장 126
2. 琴操: 소통을 위한 새로운 창작방식 133
제5절 소결 138
제4장 한유의 시 창작 태도 141
제1절 효용성 견지: 以詩爲敎 141
1. 道에 대한 한유의 태도 141
2. 세태에 대한 비판 152
3. 불교와 도교에 대한 비판 160
제2절 유희성 추구: 以詩爲戲 173
1. 戲에 대한 한유의 태도 173
2. 해학성 180
3. 작시 능력 경쟁: 戰詩 191
제3절 소결 205
제5장 한유 시의 형식 운용 208
제1절 以文爲詩의 추구 208
1. 이문위시 개념 논의 정리 208
2. 이문위시 창작 양상 223
1) 장법 224
2) 구법 234
3) 자법 236
4) 의론 246
제2절 시체별 특징 양상 257
1. 고체시 257
1) 장편 고체시의 다작 257
2) 잡언시를 이용한 솔직한 감정 표현 262
3) 압운을 통한 문학적 재능 과시 268
4) 反律化 275
2. 근체시 281
1) 근체시의 창작 양상 281
2) 엄격한 격률 준수와 정교한 표현 284
3) 三韻律詩와 배율 291
제3절 소결 300
제6장 한유 시의 풍격과 영향 304
제1절 풍격 평가: 기험과 평이 304
1. 기험 305
1) 기험에 대한 평가와 그 의미 305
2) 실제 창작 양상 313
2. 평이 331
1) 평이에 대한 평가와 그 의미 331
2) 실제 창작 양상 336
제2절 후대에 끼친 영향 341
1. 중⋅만당 341
2. 송대 346
3. 고려 및 조선 364
제7장 결론 369
참고문헌 375
Abstract 385박
The Multi-Dimensional Analysis Method Development for KALIMER-600 using MARS-LMR CODE
No full textThis research was supported by KAERI(Korea Atomic Energy Research Institute) and the author would like to thank Dr. S.W. Bae and Dr. K.S. Ha for their help
Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context
No full textMy thesis explores how a translated author on the periphery of the host culture’s
translated repertoire can be at once subversive and innovative on the colonial scene,
using as an example the case of Sean O’Casey in colonial Korea. It explores the
importation of Irish drama in modern Korean theatre during the colonial period and
examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu
Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth
century, intellectuals perceived the supreme task for the Korean people to be the
recovery of national sovereignty and independence. The modern Korean theatre
movement which rose among Korean intellectuals and dramatists during the colonial
period was to play a major part in this task. The ultimate goal of this movement was
to establish a modern national theatre promoting Korean culture and educating the
people, thereby recovering national independence. As their modernised dramatic
polysystem was still "young", Korean intellectuals and dramatists who were
involved in the theatre movement had to borrow dramatic models from other
countries. One of the models they chose was Irish playwrights, especially those who
were involved in the Irish dramatic movement. They published or staged the works
of W.B. Yeats, Lord Dunsany [Edward John Moreton Drax Plunkett], Augusta
Gregory, J.M. Synge, St. J. Ervine, T.C. Murray and Sean O'Casey. Although
O'Casey was considered an important dramatist in the Irish dramatic movement, he
was a playwright on the periphery in the list of translated Irish dramatists in Korea
due to the colonisers’ censorship. However, he remained as a subversive and
innovative playwright on the colonial scene by virtue of being appropriated by Yu
Chi-jin who used O’Casey’s plays as models when creating his own works. In
discussing the subject matter of my thesis, I use Even Zohar’s polysystems theory as
a starting point in looking at ideological issues surrounding translation and extend
the discussion to offer a postcolonial perspective. While most translation in a
colonial context was considered as "an expression of the cultural power of the
colonisers," my thesis shifts the focus to translation as an expression of the cultural
power of the colonised. I explore how the colonised uses another colonised culture to
subvert the colonisers’ power
RNA-Guided Genome Editing in Drosophila with the Purified Cas9 Protein
No full textWe report a method for generating Drosophila germline mutants effectively via injection of the complex of the purified Cas9 protein, tracrRNA, and gene-specific crRNAs, which may reduce delayed mutations because of the transient activity of the Cas9 protein, combined with the simple mutation detection in GO founders by the T7E1 assay.Y
Head Acceleration Event Exposure During Elite Men’s and Women’s Rugby Union Training
No full textObjectives
The aim of this study was to describe the incidence and magnitude of head acceleration events (HAEs) during elite men’s and women’s rugby union training for different contact training levels and drill types.
Method
Data were collected during the 2022–23 and 2023–24 seasons from 203 men and 125 women from 13 clubs using instrumented mouthguards (iMGs) during in-season training. One author reviewed the training videos to identify the contact level and drill type. HAE incidence was calculated per player minute.
Results
For men’s forwards and backs, only 4.7% and 5.8% of HAEs were ≥ 25 g and ≥ 1.5 Krad/s2, and 3.4% and 4.4% for women’s forwards and backs, respectively. The incidence of ≥ 5 g and ≥ 0.4 Krad/s2 was highest during full-contact training for men’s forwards (0.20/min) and backs (0.16/min) and women’s forwards (0.10/min). HAE incidence was 2–3 times higher during repetition-based compared with game-based training drills for men’s forwards (0.25/min vs 0.09/min) and backs (0.22/min vs 0.09/min) and women’s forwards (0.09/min vs 0.04/min) and backs (0.08/min vs 0.03/min). HAE incidences were halved when repetition-based training drills used pads compared with no pads for men’s forwards (0.21/min vs 0.44/min) and backs (0.17/min vs 0.30/min), and women’s forwards (0.06/min vs 0.14/min) and backs (0.06/min vs 0.10/min).
Conclusion
The average HAE incidence (~ 13–20% of weekly HAEs) and magnitude during an in-season training week is very low compared with matches. Opportunities to materially reduce HAE exposure in training are likely more limited than previously assumed. Future research on HAE load and injury, and understanding players’ specific weekly training exposure, may inform effective individual player management
Molecular Insights into SIRT1 Protection Against UVB-Induced Skin Fibroblast Senescence by Suppression of Oxidative Stress and p53 Acetylation
No full textStresses, such as exposure to ultraviolet radiation and those associated with aging, are known to cause premature cellular senescence that is characterized by growth arrest and morphological and gene expression changes. This study was designed to investigate the protective effect of Sirtuin1 (SIRT1) on the UVB-induced premature senescence. Under in vitro experimental conditions, exposure to a subcytotoxic dose of UVB enhanced human skin fibroblasts senescence, as characterized by increased beta-galactosidase activity and increased levels of senescence-associated proteins. However, adenovirus-mediated SIRT1 overexpression significantly protected fibroblasts from UVB-induced cellular deterioration. Exposure to UVB-induced cell senescence was associated with oxidative stress and p38 mitogen-activated protein kinase activation. Molecular analysis demonstrated that deacetylation of Forkhead box O3 alpha (FOXO3 alpha) by SIRT1 changed the transcriptional activity of FOXO3 alpha and increased resistance to the oxidative stress. In addition, SIRT1 suppressed UVB-induced p53 acetylation and its transcriptional activity, which directly affected the cell cycle arrest induced by UVB. Further study demonstrated that SIRT1 activation inhibited cell senescence in the skin of the HR1 hairless mouse exposed to UVB. The study identifies a new role for SIRT1 in the UVB-induced senescence of skin fibroblats and provides a potential target for skin protection through molecuar insights into the mechanisms responsible for UVB-induced photoaging.
Zwitterionic Polymer Gel‐Based Fully Self‐Healable Ionic Thermoelectric Generators with Pressure‐Activated Electrodes
No full textHeat generated from various sources is inevitably wasted. Thermoelectric generators (TEGs) are suitable for recovering such waste heat because of their simple structure and operating principle. Herein, a zwitterionic (ZI) polymer-based fully self-healable ionic TEG is presented. By adjusting the position of the positive and negative moieties of the ZI side chain, the movement of free ions contained in the ionogel can be controlled effectively, thus improving the power factor of TEGs. ZI side chains inside the ionogel provide multiple ionic interaction sites and enable fast self-healing characteristics at room temperature. Furthermore, a self-healing electrode composed of liquid metal (LM), waterborne polyurethane (WPU), and polyvinyl alcohol (PVA) is developed for the fully healable TEGs. The overall areal output voltage is effectively improved by connecting 10 legs of p and n thermoelectric gels in series via a self-healing process. The selectively ion-boosted, fully self-healable TEGs developed in this study will open a new horizon for high-performance ionic TEGs.
Kaistia granuli sp. nov., isolated from anaerobic granules in an upflow anaerobic sludge blanket reactor
No full textA Gram-negative, chemo-organotrophic, non-motile, non-spore-forming, rod-shaped bacterium (designated strain Ko04(T)) was isolated from anaerobic granules in an upflow anaerobic sludge blanket reactor, and was investigated using a polyphasic taxonomic approach. Phylogenetic analysis based on 16S rRNA gene sequences showed that strain Ko04T belongs to the order Rhizobiales in the Alphaproteobacteria. Comparative 16S rRNA gene sequence analysis showed that strain Ko04T was most closely related to Kaistia adipata (97.5 %) and that sequence similarities with other species of Rhizobiales with validly published names were less than 92.5%. The predominant ubiquinone was Q-10 and the major fatty acids were C-18:1 omega 7c/omega 9t/omega 12t, C-19:0 cyclo omega 8c and C-18:0. The G + C content of the genomic DNA of strain Ko04(T) was 67.8 mol%. The level of DNA-DNA relatedness with K. adipata Chj404(T) was 15%. The results of the genotypic analyses in combination with chemotaxonomic and physiological data demonstrated that strain Ko04T represents a novel species within the genus Kaistia, for which the name Kaistia granuli sp. nov. is proposed. The type strain is Ko04(T) (=KCTC 12575(T) =LMG 23410(T))
An electroceutical approach enhances myelination via upregulation of lipid biosynthesis in the dorsal root ganglion
No full textAs the myelin sheath is crucial for neuronal saltatory conduction, loss of myelin in the peripheral nervous system (PNS) leads to demyelinating neuropathies causing muscular atrophy, numbness, foot deformities and paralysis. Unfortunately, few interventions are available for such neuropathies, because previous pharmaceuticals have shown severe side effects and failed in clinical trials. Therefore, exploring new strategies to enhance PNS myelination is critical to provide solution for such intractable diseases. This study aimed to investigate the effectiveness of electrical stimulation (ES) to enhance myelination in the mouse dorsal root ganglion (DRG) - an ex vivo model of the PNS. Mouse embryonic DRGs were extracted at E13 and seeded onto Matrigel-coated surfaces. After sufficient growth and differentiation, screening was carried out by applying ES in the 1-100 Hz range at the beginning of the myelination process. DRG myelination was evaluated via immunostaining at the intermediate (19 days in vitro (DIV)) and mature (30 DIV) stages. Further biochemical analyses were carried out by utilizing ribonucleic acid sequencing, quantitative polymerase chain reaction and biochemical assays at both intermediate and mature myelination stages. Imaging of DRG myelin lipids was carried out via time-of-flight secondary ion mass spectrometry (ToF-SIMS). With screening ES conditions, optimal condition was identified at 20 Hz, which enhanced the percentage of myelinated neurons and average myelin length not only at intermediate (129% and 61%) but also at mature (72% and 17%) myelination stages. Further biochemical analyses elucidated that ES promoted lipid biosynthesis in the DRG. ToF-SIMS imaging showed higher abundance of the structural lipids, cholesterol and sphingomyelin, in the myelin membrane. Therefore, promotion of lipid biosynthesis and higher abundance of myelin lipids led to ES-mediated myelination enhancement. Given that myelin lipid deficiency is culpable for most demyelinating PNS neuropathies, the results might pave a new way to treat such diseases via electroceuticals. © 2022 The Author(s). Published by IOP Publishing Ltd.1
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