Earticle

Objective: International institutes such as Global institute for Asthma(GINA), KAAACI(Republic of Korea), NHLBI(USA), BTS(UK) and JSA(Japan) have published guidelines for asthma treatment. The aim of this study was to compare the representatives’ international guidelines of pharmacotherapy for pediatric asthma. Methods: The recommendations related to pharmacotherapy for pediatric asthma were extracted from the latest representatives’ international guidelines, and comprehensive comparisons were conducted. Results: Major comparison outcomes between international guidelines were evaluated as follows: classification system on severity and pediatric age group, recommendation for inhaled corticosteroid dose, recommendation for pediatric age group of theophylline in mild asthma, and recommendation for pediatric age group of tiotropium in severe asthma. Clinical trials emphasized the adverse effects of theophylline, whereas tiotropium demonstrated beneficial actions for pediatric asthma. Therefore, theophylline was recommended for older patients with persistent asthma, and tiotropium was considered to be suitable for younger patients with severe asthma according to GINA guidelines. Conclusion: These findings address the requirement to harmonize international guidelines of pharmacotherapy in pediatric asthma. In addition, the findings suggest that KAAACI needs to update its pharmacotherapy guidelines of theophylline, tiotropium and other medicines recently approved.

20세기 전반 두 차례의 세계대전을 겪으며 사람들은 이제 이전과 다른 방식으로 세상을 바라보게되었다. 그런 상황 속에서 등장한 퍼포먼스 아트는 지금까지 당연하게 여겨져 오던 일상적 관례나상식적 가치의 근거에 대해 의문을 던진다. 특히 여성 미술가들은 성, 젠더, 인종, 계급 등의 정체성이새겨진 몸을 적나라하게 때론 충격적인 방식으로 드러냈다. 그 중에서도 지나 판과 마리나 아브라모비치는 자학적인 상처내기를 통해 관객에게 불편과 고통, 충격을 주었다. 두 작가의 자학적 퍼포먼스가 지닌 다의성을 읽어내기 위해서 본 연구는 에리카 피셔-리히테의‘수행성’ 개념을 통해 분석을 시도하였다. 지나 판과 마리나 아브라모비치의 작품 속 자학적 상처는정치적 저항과 성소수자의 고통, 출산의 고통, 남성의 여성에 대한 폭력, 집단 심리, 공산주의의 억압, 어린 시절의 트라우마, 선배 작가에 대한 오마주 등 다양한 의미를 담고 있다. 또한 이들의 퍼포먼스를직접 혹은 사진과 인터뷰 등의 간접적 방식으로 접한 관람객들은 기존 사회에 내재된 모순을 깨닫고, 더 나아가 이들이 겪은 고통과 위기에 대하여 공감하게 되는 등의 커다란 변환을 경험하게 된다.

After two great wars in the first half of the 20th century, people now have a different view of the world. The performance art that emerged in such a situation raises questions about the grounds for everyday practice and common sense values that have been taken for granted so far. In particular, female artists revealed their bodies engraved with special identities such as sex, gender, race, and class in a stark and sometimes shocking way. Among them, Gina Pane and Marina Abramović caused discomfort, pain, and shock to the audience through ‘masochistic incision’. In order to read the polysemic signification of the two artists' masochistic performances, this article attempted to analyze them through Erika Fischer-Lichte's concept of “performativity”. The masochistic incision in Gina Pane and Marina Abramović's work have various meanings, including political resistance, sexual minority suffering, childbirth, male violence against women, collective psychology, suppression of communism, childhood trauma, and homage to senior artists. In addition, spectators who have encountered their performances in person or indirect ways such as photos and interviews experience transformations such as realizing the contradictions inherent in existing society and sympathizing with the pain and crisis they have experienced.

This paper interprets Gina Kim’s essay film Faces of Seoul (Seo-ul eui eolgul, 2009) as a text portraying an urban subject constructed from traumatic experiences and her spatial practices of the city of Seoul. The possibility of impossible representation of traumatic experience of eyewitnessing the collapse of the Sampoong Department Store stems from her ethical flanerie of the streets of Seoul. The entire film embodies the interrelationship between urban trauma, subjectivity, and ambivalent possibility of female flanerie. This paper argues that the film’s entitling of Faces of Seoul instead of, for example, Cityscapes of Seoul, reveals its deep concern regarding otherness of people of the past and the present, and the intertextuality of urban spacetime and urban subjectivity. In this film, the time-space of urban storytelling constructs the walker-narrator’s private history unfolded in tandem with the modern public?also traumatic?history of the city and the country under the development of compressed modernity. Through her perambulatory performance of the city as the process of facing its traumatic history and also the trauma of witnessing the death of the other, the director-narrator documents the rise of a certain kind of urban subjectivity based on anamnesis and mourning.

This paper considered the process how the elite of Korea in the late 19th century accept the word Gina(支那) and the cultural meaning of Gina back in that time. The process could be analyzed through 3 periods. In the first period, Korean students who study abroad in Japan like Yun Chi-Ho(尹致昊) learned this word on their way to the so called new culture and new academic. With this background they begun to change their concept about Qing(清). These Korean elites, who realized that Qing was obstructing the independence of Korea, try to deny Qing as Suzerain by calling Qing Gina. The second period is the time after First Sino-Japanese War, 1894. With newspapers springing up, journalists became the leading role. They realized Qing could no longer obstruct Korea’s self-government after the Treaty of Shimonoseki. At the same time, they had accepted the new world view and the new civilization concept. With all of these, they described Qing as an other in newspapers. In their efforts, it was clear that they prefer the name Gina than Jungkook(中國). The word Gina had taken root in the language environment of Korea. In the third period, after Japan–Korea Treaty of 1905, the power of Korean royalty declined. In order to respond to this situation, the elite who lead patriotic enlightenment movement started to call for national unity. They gave the word Gina more cultural meaning and make it much more commonly used than before. With comparison to Gina, they made great efforts to emphasize the identity of the Korean people.

Gina Apostol??s Gun Dealers?? Daughter shows how memory and language work in the context of American (neo)colonialism and Philippine dictatorship. This paper examines the ways in which memory and language can counter the double bind of U.S. colonialism and Ferdinand Marcos??s dictatorship in the Philippine context. In particular, it explores the meaning of forgetting aimed at overcoming the history of colonialism as well as the possibility of healing with the help of remembering. The relationship between the narrator and her alter ego shows how remembering and re-writing history are necessary to address the problems of the postcolonial Philippines. In this regard, this paper also pays attention to the ways in which dysgraphia, silence, pun, and catachresis can be used as counter-discursive strategies to raise the possibility of writing an alternative history as opposed to the hegemonic narrative.