• Applied Chemistry for Engineering
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• v.26 no.1
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• pp.29-34
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• 2015

N,N'-Diferuloyl-putrescine (DFP) present in plants such as Sophora japonica has been reported to have skin depigmentative and antioxidative activities. In this study, DFP, usually presents in nature a very little amount and its derivative (DFP-D) were synthesized in a large quantity for the use as functional cosmetical materials. The antioxidative activities of synthesized DFP and DFP-D were evaluated by the 1,1-diphenyl-2-picrylhydrazyl (DPPH) assay, chemiluminescence assay, and cell protective effect induced by $^1O_2$, stress. DFP and DFP-D showed DPPH radical scavenging activities ($FSC_{50}$) at $61.25{\pm}2.25{\mu}M$ and $12.92{\pm}0.72{\mu}M$, respectively. ROS (reactive oxygen species) scavenging activities ($OSC_{50}$) in the $Fe^{3+}-EDTA/H_2O_2$ system of DFP and DFP-D were 2 times ($1.84{\pm}0.12{\mu}M$) and 13 times ($0.174{\pm}0.01{\mu}M$), respectively higher than that of L-ascorbic acid. $^1O_2$, one of ROS playing a key role in the skin photo-aging, induces cellular membrane damages. DFP-D ($50{\mu}M$) showed good cell protective effects (${\tau}_{50}=80.2min$) about 2 times more than that of (+)-${\alpha}$-tocopherol (${\tau}_{50}=43.6min$). These results suggest that the great antioxidative activities of DFP and DFP-D could be applied to cosmetic industries as functional cosmetic materials.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Journal of Chest Surgery
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• v.29 no.10
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• pp.1095-1101
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• 1996

From July 1983 to June 1995, 95 consecutive patients with mitral stenosis were treated surgically in the Department of Thoracic and Cardiovascular Surgery, Chonbuk national University Hospital, mitral valve replacement(MVR) in 62 patients and open mitral commissurotomy(OMC) in 33 patients. Mitral stenosis combined with coronary artery disease, with aortic valve disease, or wish mitral valvular Insufficiency, were excluded from this study. Surgical procedures for mitral stenosis were evaluated, according to complication, reoperation, mor- tality, nd functional change at mid- and long-term postoperative period. Cardiothoracic ratio in the MVR group was greater than the OMC group(0.59 $\pm$0.07 in MVR, 0.53 $\pm$0. 07 in OMC, p<0.05), but other variables(age, sex, MYHA functional classification, EKG finding, echocardiographic finding) did not show significant difference between two groups in the preoperative periods. Even though pathologic valvular lesion(Sellor's pathologic type m: 35 in MVR, 13 in OMC) and valvular calcification(35 in MVR, 11 in OMC) were severe in the MVR group(p=0.001) at intraoperative observation, OMC was possible in 11 patients(23.9%) among 46 patients with valvular calcification and in 13 patients(27.1 %) among 61 patients with Sellor's pathologic type IH . There was no significant difference in early and late mortality, actuarial survival(75% in MVR, 87.6% in OMC at 12 year), but early and late hemorrhagic, thromboembolic complications in the MVR group were greater than in the OMC. Functional changes in NYHA functional classification, EKG lEnding, cardiothoraclc ratio, and echocardiographic finding(EF, LVIDS, LWDd, LAD) did not differ between two groups in mid- and long-term postoperative periods. We conclude that our efforts for preservation of the native valve would be continued, because hemorrhagic and thromboembolic complications in the MVR were greater than in the OMC, and OMC was possible even in patients with severely stenotic and calcified mitral valve, although there was no sis-nificant difference in the functional change, mortality, and survival between the M VR and OMC.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• Journal of Life Science
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• v.23 no.11
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• pp.1397-1403
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• 2013

Fructus Sophorae, the dried ripe fruit of Styphnolobium japonicum (L.), is an herbal ingredient used in traditional Oriental medicine. This study was carried out to investigate the effects of Fructus Sophorae extracts (FSE) on immune modulation in a murine RAW 264.7 macrophage model. As immune response parameters, the production of prostaglandin $E_2$ ($PGE_2$) and tumor necrotic $factor-{\alpha}$ ($TNF-{\alpha}$) were evaluated. Our data revealed that FSE increased the macrophage activation and the production of $PGE_2$ and $TNF-{\alpha}$, which was consistently correlated with upregulation of cyclooxygenase-2 (COX-2) and $TNF-{\alpha}$ expression at both transcriptional and translational levels. On comparative cytokine protein array, FSE significantly increased several cytokines, which was associated with phosphorylation of mitogen- activated protein kinases (MAPKs), including extracellular signal-regulated kinase (ERK), p38 MAPK and c-Jun N-terminal kinase (JNK), and Akt in RAW 264.7 cells. However, each inhibitor of these molecules attenuated the FSE-induced $PGE_2$ production. These results indicate that FSE activated macrophages through the activation of MAPKs and phosphatidylinositol-3-kinase (PI3K)/Akt signaling pathways in RAW 264.7 macrophages. These findings suggest that FSE may provide a promising source of an immunoenhancing agent.

• Journal of agriculture & life science
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• v.45 no.2
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• pp.69-83
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• 2011

The aim of the research was to provide basic information for a suitable management and utilization of protected trees by law. To achieve this aim, this study investigated the current state, management status and utilization of protected trees by law in Gyeongsan city. The result of the current state of protected trees indicated that there were 55 protected trees designated since 1982. These trees consisted of 8 species which were located at 41 places. Major species was Sophora japonica (30.9%), followed by Zelkova serrata (23.6%). The protected trees have been used as sacred trees (45.5%) in the villages, followed by scenic trees (36.7%). 38.2% of the protected trees were 200 to 300 years old and 54.6% of the trees were 15 to 30 m in height. 34% of the protected trees were located in the villages, followed by beside road (19.5%). Single trees (78%) were mostly planted. The result of the management status indicated that 58.5% of the root area in protected trees were covered with bare ground, followed by gravel mulch (19.5%). The average of soil hardness was 9.64 mm. The safety fence of tree was installed at 9 places (22%) and a stone wall was built at 22 places (53.7%). 70.9% of the protected trees had a surgical operation to prevent cavities and to cure decay. Granite stone signs were installed at 33 places. The result of the utilization of protected trees indicated that 13 places were used as a rest area in the villages. It consisted of shelters, benches, athletic facilities and outdoor tables. The research suggested potential places for a mini park(pocket park) to recover a local community by using surrounding available land and improving current rest areas of protected trees. The research presented here is a first step towards a more comprehensive analysis of protected trees in Gyeongsan and further research is needed.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.306-329
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• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.

• Applied Biological Chemistry
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• v.10
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• pp.1-13
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• 1968

Phytin is a salt(mainly calcium and magnesium) of phytic acid and its purity and molecular formula can be determined by assaying the contents of phosporus, calcium and magnesium in phytin. In order to devise a new method for the quantitative analysis of the three elements in phytin, the chelatometric method was developed as follows: 1) As the pretreatment for phytin analysis, it was ashfied st $550{\sim}600^{\circ}C$ in the presence of concentrated nitric acid. This dry process is more accurate than the wet process. 2) Phosphorus, calcium and megnesium were analyzed by the conventional and the new method described here, for the phytin sample decomposed by the dry process. The ashfied phytin solution in hydrochloric acid was partitioned into cation and anion fractions by means of a ration exchange resin. A portion of the ration fraction was adjusted to pH 7.0, followed by readjustment to pH 10 and titrated with standard EDTA solution using the BT [Eriochrome black T] indicator to obtain the combined value of calcium and magnesium. Another portion of the ration fraction was made to pH 7.0, and a small volume of standard EDTA solution was added to it. pH was adjusted to $12{\sim}13$ with 8 N KOH and it was titrate by a standard EDTA solution in the presence of N-N[2-Hydroxy-1-(2-hydroxy-4-sulfo-1-naphytate)-3-naphthoic acid] diluted powder indicator in order to obtain the calcium content. Magnesium content was calculated from the difference between the two values. From the anion fraction the magnesium ammonium phosphate precipitate was obtained. The precipitate was dissolved in hydrochloric acid, and a standard EDTA solution was added to it. The solution was adjusted to pH 7.0 and then readjusted to pH 10.0 by a buffer solution and titrated with a standard magnesium sulfate solution in the presence of BT indicator to obtain the phosphorus content. The analytical data for phosphorus, calcium and magnesium were 98.9%, 97.1% and 99.1% respectively, in reference to the theoretical values for the formula $C_6H_6O_{24}P_6Mg_4CaNa_2{\cdot}5H_2O$. Statical analysis indicated a good coincidence of the theoretical and experimental values. On the other hand, the observed values for the three elements by the conventional method were 92.4%, 86.8% and 93.8%, respectively, revealing a remarkable difference from the theoretical. 3) When sodium phytate was admixed with starch and subjected to the analysis of phosphorus, calcium and magnesium by the chelatometric method, their recovery was almost 100% 4) In order to confirm the accuracy of this method, phytic acid was reacted with calcium chloride and magnesium chloride in the molar ratio of phytic: calcium chloride: magnesium chloride=1 : 5 : 20 to obtain sodium phytate containing one calcium atom and four magnesium atoms per molecule of sodium phytate. The analytical data for phosporus, calcium and magnesium were coincident with those as determine d by the aforementioned method. The new method employing the dry process, ion exchange resin and chelatometric assay of phosphorus, calcium and magnesium is considered accurate and rapid for the determination of phytin.