• Journal of Life Science
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• v.15 no.3 s.70
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• pp.415-422
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• 2005

library of the mutants was prepared by transposon mutagenesis of the Mycobacterium bovis BCG. We screened this library for the resistance to an anti-tuberculosis antibiotic, PA-824. Most of the mutants resistant to the PA-824 were not able to synthesize the coenzyme $F_{420}$ which is normally produced by the wild type M. bovis BCG strains. HPLC analysis of the cellular extract showed that one of those mutants which lost the ability to synthesize $F_{420}$ still produced F0. The insertion site of the transposon in this mutant was determined by an inverse PCR and the transposon was found to be inserted in the Rv2435c open reading frame (ORF). Rv2435c ORF is predicted to encode an 80.3 kDa protein. Rv2435c protein appears to be bound to the cytoplasmic membrane, its N-terminal present in the periplasm and C-terminal in the cytoplasm. The C-terminal portion of this protein is highly homologous with the adenylyl cyclases of both prokaryotes and eukaryotes. There are 15 ORFs which have homology with the class III AC proteins in the genome of the M. tuberculosis and M. bovis. Two of those, Rv1625c and Rv2435c, are highly homologous with the mammalian ACs. We cloned the cytoplasmic domain of the Rv2435c ORF and expressed it with six histidine residues attached on its C-terminal in Escherichia coli to find out if this protein is a genuine AC. Production of that protein in E. coli was proved by purifying the histidine-tagged protein by using the Ni-NTA resin. This protein, however, failed to complement the cya mutation in E. coli, indicating that this protein lacks the AC activity. All of the further attempts to convert this protein to a functional AC by a mutagenesis with UV or hydroxylamine, or construction of several different fusion proteins with Rv1625c failed. It is, therefore, possible that Rv2435c protein might affect the conversion of F0 to $F_{420}$ not by synthesizing cAMP but by some other way.

• Cartoon and Animation Studies
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• s.26
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• pp.1-30
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• 2012

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.

• Journal of The Korean Association For Science Education
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• v.36 no.3
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• pp.445-455
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• 2016

The purpose of this study is to identify the structural relationship among students' grit, interest, self-regulation ability, task-commitment and achievement within science learning. Our concern is understanding how grit is related to the other non-cognitive variables, i.e., interest, self-regulation ability, and task-commitment, which are widely known as significant predictors of science achievement. Based on literature review, we evaluated two hypothetical models in the frame of structural equation modeling as follows: first, grit was assumed to mediate relations of interest and self-regulation ability, and interest and task-commitment. Second, grit was assumed to have a direct effect on self-regulation ability and task-commitment independent of interest. In both models, grit was assumed to be indirectly associated with science achievement. A total number of 180 high school students (77 boys, 103 girls) participated in surveys on grit, interest, self-regulation ability, and task-commitment and reported their science test scores on mid-term/final exams. Results revealed that students' grit and interest were indirectly associated with their science achievement with the mediation of their self-regulation and task-commitment. We also found that task-commitment was highly correlated with interest and self-regulation. Furthermore, we found different patterns of correlations within the five variables between female and male students. From these results, we suggested that researchers need to investigate whether students' grit and task-commitment can explain their interest decreasing as they move to higher grade levels, how teachers can help students to maintain their interest in learning science from early childhood, and relationships of these non-cognitive variables and science achievement.

• Journal of The Korean Association For Science Education
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• v.35 no.1
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• pp.73-84
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• 2015

In this research, two careers connectable with the contents of the curriculum of fifth to sixth grade elementary school students were selected among other promising future careers in biotechnology and medical engineering fields. 'Design-based promising future career STEAM program' was developed and its validity and effectiveness were verified. Reflecting recent issues, and complying with the STEAM standard (frame) instructional materials were developed through group deliberations for nine months, based on the achievement standards through an analysis of subject curriculum revised in 2009. This was prepared so that students are able to experience biotechnology and medical engineering related careers in a simulational form emphasized with creative design to make them prefer natural sciences and engineering careers and draw their interests and recognition of the relevant careers under the two disciplines. As a result of such application to STEAM Leader School students at the verification stage of the program, the contents and level of the program were verified suitable, receiving favorable reviews. And as a result of applying the developed program on other elementary school students, it was discovered that significant improvements were found in their career consciousness. Through this research, it was suggested that there is a need for a simplification of the curriculum content standards, a provision of 'standard for integration,' development of teachers' ability in reconstituting or organizing the STEAM and proceeding classes, continuous long-term support to see the effects of a policy or a program, and a reinforcement of career education integrated in the curriculum.

• Korean Journal of Microbiology
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• v.50 no.4
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• pp.351-359
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• 2014

A beverage was produced by the fermentation of mixed extracts from the various fruits, vegetables, algae, and medical herbs. The physicochemical properties of the fermented beverage of plant extracts (FBPE) and microbial diversity were analyzed in cultures enriched from FBPE using 16S and 26S rRNA gene sequence analyses. The pH, acidity, $^{\circ}brix$, reducing sugar, and alcohol contents of the FBPE were determined to be the 3.48, 1.68%, 70.0, 1,026 g/L, and 3.5%, respectively. The most abundant free sugar and organic acid in the FBPE were glucose (567.83 g/L) and tartaric acid (93.68 mg/L), respectively. Lactobacillus homohiochii was the predominant species in all enriched culture samples: 100% of the species in 0B (0% sugar) and 40B (40% sugar) libraries and 95.6% of 20B library (20% sugar). Lactobacillus fructivorans was detected in the 20B library. The predominant species in the samples of enrichment cultures collected from FBPE with three different sugar concentrations were: Candida zeylanoides (45.2%) in the 0Y library (0% sugar), Candida lactis-condensi (35.7%) and C. zeylanoides (35.7%) in the 20Y library (20% sugar), and C. lactis-condensi (38.1%) in the 40Y library (40% sugar). This result may provide a useful frame of reference for further analyses of microbial population dynamics in FBPE.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.2
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• pp.1-14
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• 2021

Ssangsanjae was created in the mid-1800s, It is located at Jiri Mountain to the north and the Seomjin River to the south. This garden has not changed much even though it has passed through the sixth generation since its creation, so it still retains the features of a private garden in the late Joseon Dynasty. This study focused on the changing landscape of Ssangsanjae as a historical garden; through field surveys, interviews and analysis of builder's collection, boards and couplets. Ssangsanjae is largely classified into inner and outer gardens, and the inner is divided into an entry space, a residential space, and a backyard. The backyard consists of Seodangchae, it's garden, Gyeongamdang, and swimming pool, and is connected to the Sado Reservoir area, which is the outer garden. The distinct vegetation landscape of Ssangsanjae are a 13,000m² bamboo and green tea field, Peony(Paeonia suffruticosa Andr. and Paeonia lactiflora var. trichocarpa(Bunge) Stern) planted on both sides of the road that crosses the lawn, the view through a frame(額景) shown by the twisted branches of Camellia and Evergreen spindletree, and a fence made of Trifolia Orange(Poncirus trifoliata) and Bamboo. Ssangsanjae stands out for its spatial composition and arrangement in consideration of the topography and native vegetation. The main building was named by the descendants based on the predecessor's Aho(pseudonym), and it is the philosophical view of the predecessors who tried to cultivate the younger students without going up on the road. The standing stone and white boundary stone built by Mr. Oh Ju Seok are Ssangsanjae's unique gardening facilities. The stone chairs, and swimming pool which were created by the current owner for the convenience of families and visitors also make a distinctive landscape. Ssangsanjae, for residents, was a place for living, exchanging friendships, training himself and seculusion, for children was a place for learning, but now is 'the private garden' where many people can heal themselves. Over the 200 years, the landscape of Ssangsanjae's inner and outer gardens experienced large and small changes. As such, it is necessary to recognize the historical gardens with changing properties as a living heritage. This study is significant in that, as the first study to approach Ssangsanjae in the view of landscape research, it provides basic data on Ssangsanjae as a destination of garden tourism.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.86-113
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• 2014

This study has researched the characteristics and elements of Chwibyeong (翠屛), a sort of trellis in the Joseon Dynasty through the old documents, and the original form of Chwibyeong at Juhapru (宙合樓) in Changdeuk Palace. The results were as follow. First, as the result of literatures analysis for Imwon-gyeongje-ji (林園經濟志) and Jeungbo-sallim-gyeongje (增補山林經濟), the plant screen was classified as kinds of support[frame] material, plants and methods of planting. It was found that the supports of Chwibyeong were made of bamboo or the material such as the Jinjangmok (眞長木: a stick of oak) and Giryu (杞柳: Salix purpurea var. japonica). The evergreen coniferous trees including Pinus densiflora, Taxus cuspidata and Thuja orientalis were mainly used for the plant material of Chwibyeong. The general planting method of Chwibyeong was to plant on the ground, but sometimes the container planting was also found on the artificial ground. Second, the term of 'Chwibyeong' in the literatures was used in only the screen made by evergreen trees, and the superordinate category term of it was indicated by 'byeong (屛)'. Therefore Chwibyeong was a compound word formed from 'chwi (翠)' which means the characteristics of evergreen and 'byeong' as tree screen which the support was made by bamboo. And Chwibyeong had semantic context which was combined with the literary symbolization to describe a landscape of green peak and Taoist ideology be inherent from 'twelve peaks of Musan[巫山十二峰]' in Sichuan sheng (四川省). Thirdly, the photograph of Chwibyeong at Juhapru taken by the 1880s, showed that Chwibyeong was made with coniferous trees and was almost 2 meters high. The Chwibyeong at Juhapru was removed during the Japanese colonial era, but a few yew trees(Taxus cuspidata) used for Chwibyeong are still remaining. And some Juniperus chinensis which the composition time is unclear, were cultivated while hung loose its branchs at the sides of Eosumun (魚水門). This Junipers were presumed to be planted by Japanese after Japanese annexation of Korea(1910), and it was judged that both of the roofs of Eosumun's side gates might have been transformed into Japanese style at the same time. Lastly, Chwibyeong at Juhapru was restored in 2008 but it was restored in wrong way from original form without precise research. Especially Chwibyeong was restored with Sasa boreralis which is damaged by frost, so it requires exertion that should revive the originals to plant original material as much as possible. And it needs the development of fabrication technique for Chwibyeong and the application to current landscape architecture.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Cross-Cultural Studies
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• v.52
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• pp.133-164
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• 2018

This purpose of this paper is to focus on anti-Japanese literature and pro-Japanese literature skills among Korean literary history written in Japan, and to observe the differences between Korean and Japanese perception surrounding anti-Japanese and pro-Japanese literature. Analyzed texts are "Taste Korean Literature" by Saegusa Dosikatsu and "The Footsteps of Modern Literature of Chosun" by Shirakawa Yutaka, the earnest modern Korean literary historians written from the perspective of Japanese writers, and though there's no overall written history of literature, they were seen through with the perspective of Omura Masuo, at the forefront of Japanese researchers in modern and contemporary Korean literature. The main results of the review are as follow: First, In Korean literary history by Japan, the frame "pro-Japanese literature" is clearly embedded. It is clearly distinctive from the aspect of China or North Korea, and though it follows the narration system of South Korean literature, it also forms the breaking (turning) point of anti-Japanese and pro-Japanese literature relative to anti-Japanese and pro-Japanese literature. Second, even if it follows the narration system of South Korean literature, that question was constantly raised on existing Korean academic evaluation of anti-Japanese and pro-Japanese literature, and different interpretations of reading were practiced. For example, Korean academic circles highly regard literature of writers such as Kim, Jong han or Lee, Seok hoon, while Korean academics do not place much importance on Lee, Gwang Soo's pro-Japanese elements that are important. The third point is that generous marks are credited to writers with outstanding Japanese or to Japanese creative writing. As a result, they dissolve internal logic in different pro-Japanese collaborators such as Chang, Hyuk Ju, Kim, Sa Ryang, Lee, Seok hoon, or Kim, Yong Jae by melting the same "Japanese literature" in a cage. The last point is reading different inner thoughts of Kim, Jong-han or Lee, Seok-hoon unlike outspoken pro-Japanese collaborators such as Lee, Gwang soo, Jang, Hyuk Joo or Kim, Yong je. These points require more in-depth analysis, and will be continued in follow-up tasks.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.