• Journal of Plant Biotechnology
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• v.32 no.2
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• pp.111-116
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• 2005

The two different ways to supply air inside the bioreactor were examined in the adventitious root cultures of Panax ginseng C.A. Meyer. First, the aeration rate varied at 0.05, 0.1, 0.2 and 0.3 vvm, respectively which were supplied during the whole culture period. Second, the amount of air supply was increased from 0.05 to 0.3 vvm at 10-day intervals in proportion to the root growth. Both the root growth and the ginsenoside accumulation were maximized to 175.8 g dry wt. of root growth and 4.3 mg/g dry wt. of ginsenoside accumulation when the aeration rate was increased gradually. The effect of the sparger pore size (15, 30 and $60\;{\mu}m$) in the bioreactor was also investigated, which suggested the greatest root growth (175.9 g dry wt.) in the $15{\mu}m$-sized sparger and the highest ginsenoside content (4.3 mg/g dry wt.) in the $60\;{\mu}m$ size. Finally, the diameter of a sparger ($15\;{\mu}m$-sized) varied at 1.5, 3.0, 5.0 and 8.0 cm, respectively. The highest root growth (191.9 g dry wt.) and the ginsenoside content (4.9 mg/g dry wt.) were obtained in the sparger diameter of 8.0 cm.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• KDI Journal of Economic Policy
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• v.30 no.1
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• pp.171-209
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• 2008

The Great Depression is one of the most important economic incidents in the twentieth century. A significant and long-lasting impact of this event is the rise of the government intervention to the economy. Under the catastrophic downturn of the economic condition worldwide, people required their government to play an active role for economic recovery, and this $mentalit{\acute{e}}$ prolonged even after the Second World War. Social science textbooks taught at Korean high schools mostly referred to the Great Depression for explaining the reason of government intervention in economy. However, the mainstream view commonly found in the textbooks provides a misleading theological interpretation. It argues that inherent flaws of the market economy causes over-production/under-consumption, and that this mismatch ends up with economic crisis. The chaotic situation was resolved by substitution of the governments for the market, and the New Deal was introduced as the monumental example ('laissez-faire economy ${\rightarrow}$over-production${\rightarrow}$the Great Depression${\rightarrow}$government intervention${\rightarrow}$economic recovery'). Based on economic historians' researches for past three decades, I argue that this mainstream view commits the fallacy of ex-post justification. Unlike what the mainstream view claims, the Great Depression was neither the result of the 'market failure', nor the recovery from the Great Depression but was due to successful government policies. For substantiating this claim, I suggest three points. First, blaming the weakness or instability of the market economy as the cause of the Great Depression is groundless. Unlike what the textbooks describe, the rise of the U.S. stock price during the 1920s cannot be said as a bubble, and there was no sign of under-consumption during the 1920s. On the contrary, a new consensus emerging from the 1980s among economic historians illustrates that the Great Depression was originated from 'the government failure' rather than from the 'market failure'. Policymakers of European countries tried to return to the gold standard regime before the First World War, but discrepancies between this policy and the reality made the world economy vulnerable. Second, the mainstream view identifies the New Deal as Keynesian interventionism and glorifies it for saving the U.S. economy from the crisis. However, this argument is not true. The New Deal was not Keynesian at all. What the U.S. government actually tried was not macroeconomic stabilization but price and quantity control. In addition, New Deal did not brought about economic recovery that people generally believe. Even after the New Deal, industrial production or employment level remained quite low until the late 1930s. Lastly, studies on individual New Deal policies show that they did not work as they were intended. For example, the National Industrial Recovery Act increased unemployment, and the Agricultural Adjustment Act expelled tenants from their land. Third, the mainstream view characterizes the economic order before the Great Depression as laissez-faire, and it tends to attribute all the vice during the Industrial Revolution era to the uncontrolled market economy. However, historical studies show that various economic and social problems of the Industrial Revolution period such as inequality problems, child labor, or environmental problems cannot be simply ascribed to the problems of the market economy. In conclusion, the remedy for all these problems in high school textbooks is not to use the Great Depression as an example showing the weakness of the market economy. The Great Depression should be introduced simply as a historical momentum that had initiated the growth of government intervention. This reform of high school textbooks is imperative for enhancing the right understanding of economy and history.