This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.
This study was conducted to investigate petal pigmentation and the expression patterns of anthocyanin-related genes in bicolored roses 'Pinky Girl' treated with temporal heat stress (THS). Cyanin accumulation in petals was correlated with floral bud development and started rapidly as floral buds began to open, defined as the $4^{th}$ stage of floral bud development ($S_4$). This stage seems to be most susceptible to petal pigmentation. The total of cyanin pigmentation at blooming was significantly decreased (by 45.5%) with exposure to THS ($39/18^{\circ}C$ for three days at $S_4$) in comparison with control. Meanwhile, the expression of anthocyanin-related genes such as CHS, CHI, F3'H, DFR, ANS, 3GT, and 5GT was relatively promoted by THS. Only F3H was less expressed (by 26.7%) with THS treatment; thus, F3H could be a key gene for bicolor promotion in 'Pinky Girl' among anthocyanin-related genes. Overall, the expression pattern of the most anthocyanin-related genes did not match the trends of cyanin pigmentation in petals. These results suggest that floral pigmentation could be associated with other mechanisms related to anthocyanin biosynthesis such as post-translational effects and regulatory genes.
The main purpose of this research is to look into not only how users evaluate two major databases(BIST and SATURN) of the scientific and technical literature in Korea, but also what users expect from scientific and technical information services in general. The result of the user evaluation shows that there is a very little difference between two databases in database quality. It was found that BIST is better than SATURN in terms of accuracy, customer support, searching capability, and currency, whereas SATURN is preferred to BIST for completeness and the average number of retrieved items. User expectation for scientific and technical information is also investigated by surveying its user community. Among three user groups, there is notable disagreement in language uses to search non-korean literature. Each group also shows different demands for translation of original literature. This study attempted to evaluate the quality of the scientific and technical information (BIST and SATURN) and simultaneously to investigate users demands in general. By doing so, the specificity implied in quality evaluation of specific information services as well as the generalization of the users behaviors in scientific and technical community were accommodated in this study.
Disruptive expression patterns of the circadian clock genes are highly associated with many human diseases, including cancer. Cell cycle and proliferation is linked to a circadian rhythm; therefore, abnormal clock gene expression could result in tumorigenesis and malignant development. The molecular network of the circadian clock is based on transcriptional and translational feedback loops orchestrated by a variety of clock activators and clock repressors. The expression of 10~15% of the genome is controlled by the overall balance of circadian oscillation. Among the many clock genes, Period 1 (Per1) and Period 2 (Per2) are clock repressor genes that play an important role in the regulation of normal physiological rhythms. It has been reported that PER1 and PER2 are involved in the expression of cell cycle regulators including cyclins, cyclin-dependent kinases (CDKs), and CDK inhibitors. In addition, correlation of the down-regulation of PER1 and PER2 with development of many cancer types has been revealed. In this review, we focused on the molecular function of PER1 and PER2 in the circadian clock network and the transcriptional and translational targets of PER1 and PER2 involved in cell cycle and tumorigenesis. Moreover, we provide information suggesting that PER1 and PER2 could be promising therapeutic targets for cancer therapies and serve as potential prognostic markers for certain types of human cancers.
This study is purposed to observe conventional expression of Hangul Ganchal. The conventional expression of Hangeul Ganchal had set a pattern from 16th century to 17the century after establishing its regular form. It is mainly found in the introduction and the conclusion of the letters. Especially, they are concretely shown at an address form and greeting in the former, a farewell and the close in the latter. Generally, a native tongue was often used in address form at Suncheon Kim's Eongan in 16th century and Hyun-Poong Kwak's Eongan in 17th century. However, a Chinese character was commonly found in the introduction at Jingbo-Eongan-Dok in 19th century. Specifically, in case of response, the conventional expression of 'read your letter' was added in greeting part. In Suneon of 16th century, this type was gradually established to the form, and in Hyuneon of 17th century, a native tongue set a pattern. However, Jingeon of 19th century, a Chinese character was mainly used instead of a native tongue. The changing form of farewell and the close showed similar pattern as the aspect of greeting form. They seemed to be more simple and repetitive in Hyuneon compared with the form of Suneon. Furthermore, a Chinese character was dominated in the conclusion of letters in Jingeon. Consequently, the paper examined the two types of letter between Hangul letters and Chinese character letters were strongly associated with each other. It is expected that more details research will be coped with next study.
John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.
Journal of Korea Entertainment Industry Association
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v.13
no.5
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pp.73-82
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2019
The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.
Protein modification by N-acetyl-${\beta}$-D-glucosamine (O-G1cNAc) on the hydroxyl groups of Ser or Thr ubiq-uitously occurs in eukaryotic cells and is involved in many cellular phenomena. The level of O-G1cNAc-mod-ified protein is regulated by OGT and O-GlcNAcase enzymes. We have tried to produce recombinant O-GlcNAcase in E. coli as an effort to establish in vitro screening system for modulators of O-GlcNAcase. The culture conditions for improvement of O-GlcNAcase productivity, were as follows: induction temperature, $30^{\circ}C$; the concentration of L-arabinose, 0.02% and induction time, 5 hr. Under these culture conditions, E. coli cells containing O-GlcNAcase gene had no enzyme activity until up to 3 hr culture. However, O-GlcNAcase activity dramatically increased from 3 to 5 hr culture. It almost maintained the same level after 5 hr culture. Western blot analysis verified the amount of expressed O-GlcNAcase increased with culture time, being con-sistent with activity data. The optimal reaction condition determined in this study was as follows: protein quan-tity, $5{\mu}g$; reaction time, 30 min; reaction temperature, $45^{\circ}C$; substrate concentration, 2 mM; reaction pH, 6.5. Methanol had little effect on O-GlcNAcase activity and 90% of activity were retained at 10%. Only 15% resid-ual activity were detected at 5% of chloroform.
Journal of Korean Classical Literature and Education
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no.34
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pp.149-191
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2017
This study examines Korean language translations of traditional Chinese hansi in the 1910s and 1920s. In the $20^{th}$ century, many poets translated Chinese and Korean traditional hansi into Korean. In the early $20^{th}$ century, Korean language began to be used as a national public language. At that time, not only hansi but also poetry from several other languages had been translated into Korean. Choi Nam-sun in the 1910s and Kim So-woel, Kim Eok, and Lee Kwang-su in the 1920s translated Chinese traditional hansi, focusing on famous Dang dynasty poetry from Tu Fu and Li Bai, etc. Choi Nam-sun's translation in the 1910s aimed to consider poetry as a written literature. On the contrary, Kim So-woel, Kim Eok, and Lee Kwang-su believed that Korean modern verse literature should be songs as well as poetry, and their translations in the 1920s aimed to create songs as spoken literature by focusing on orality and universality. Though Korean is now the language, the literary history of hansi continues in modern poetry.
The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.
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