• Journal of Nutrition and Health
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• v.57 no.1
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• pp.53-64
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• 2024

Purpose: Mitochondria play a crucial role in preserving skeletal muscle mass, and damage to mitochondria leads to muscle mass loss. This study investigated the effects of oxypeucedanin hydrate, a furanocoumarin isolated from Angelica dahurica radix, on myogenesis and mitochondrial function in vitro and in zebrafish models. Methods: C2C12 myotubes cultured in media containing 0.1, 1, 10, or 100 ng/mL oxypeucedanin hydrate were immunostained with myosin heavy chain (MHC), and then multinucleated MHC-positive cells were counted. The expressions of markers related to muscle differentiation, muscle protein degradation, and mitochondrial function were determined by quantitative reverse transcription polymerase chain reaction. To investigate the effects of oxypeucedanin hydrate on mitochondrial dysfunction, Tg(Xla.Eef1a1:mito-EGFP) zebrafish embryos were treated with 5-fluorouracil, leucovorin, and irinotecan (FOLFIRI) with or without oxypeucedanin hydrate and analyzed for mito-EGFP intensity and mitochondrial length. Results: Oxypeucedanin hydrate significantly increased MHC-positive multinucleated myotubes (≥ 3 nuclei) and increased the expression of the myogenic marker myosin heavy chain 4. However, it decreased the expressions of muscle-specific RING finger protein 1 and muscle atrophy f-box (markers of muscle protein degradation). Furthermore, oxypeucedanin hydrate enhanced the expressions of markers of mitochondrial biogenesis (peroxisome proliferator-activated receptor-gamma coactivator 1 alpha, transcription factor a mitochondrial, succinate dehydrogenase complex flavoprotein subunit A, and cytochrome c oxidase subunit 1) and mitochondrial fusion (optic atrophy 1). However, it reduced the expression of dynamin-related protein 1 (a mitochondrial fission regulator). Consistently, oxypeucedanin hydrate reduced FOLFIRI-induced mitochondrial dysfunction in the skeletal muscles of zebrafish embryos. Conclusion: The study indicates that oxypeucedanin hydrate promotes myogenesis by improving mitochondrial function, and thus, suggests oxypeucedanin hydrate has potential use as a nutritional supplement that improves muscle mass and function.

• Information Systems Review
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• v.18 no.3
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• pp.209-233
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• 2016

Internet companies that utilize social network have increased in number. The introduction of diverse social media services facilitated innovative changes in e-business. Social network service (SNS), which is a domain of social media, is a web-based service designed to strengthen human relations in the Internet and build new social relations. The remarkable growth of social network services and the profit generation and perception of this service are the new growth engines of this digital age. Given this development, many global IT companies views SNS as the most powerful form of social media. Thus, they invest efforts to develop business models using SNS.2) This study verifies the impact of privacy exposure in SNS as a result of privacy invasion. This study examines the purpose of using the SNS and user's awareness of the significance of personal information, which are key factors that affect self-disclosure of personal information. This study utilizes theory of reasoned action (TRA) to provide a theoretical platform that describes the specific behavior and emotional response of individuals. This study presents a research model that considers negative attitude (negatude). In this model, self-disclosure in SNS is considered a TRA. TRA is a subjective norm, a behavioral intention, and a key variable of exposure behavior. A survey was conducted on college students at Y university in Seoul to empirically verify the research model. The students have experiences in using SNS. A total of 198 samples were collected. Path analysis was applied to analyze the relations of factors. The results of path analysis show the statistically insignificant impact of privacy invasion on negatude, subjective norm, behavioral intention, and exposure behavior. The impact of unrecognized privacy invasion was also considered insignificant. The impacts of intention to use SNS on negatude, subjective norm, behavioral intention, and exposure behavior was significant. A significant impact was also found for the significance of personal information on subjective norm, behavioral intention, and exposure behavior, whereas the impact on negatude was insignificant. The impact of subjective norm on behavioral intention was significant. Lastly, the impact of behavioral intention on exposure behavior was insignificant. These findings are significant because the study examined the process of self-disclosure by integrating psychological and social factors based on theoretical discussion.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.40-69
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• 2023

This paper examines the relationship between celadon wine vessels and royal banquets by focusing on their unique forms. It explores the symbolism in their forms and designs and the changes that took place in the composition of these vessels. By examining the royal annals in Goryeosa (The History of the Goryeo Dynasty), the relation of celadon wine vessels and royal banquets is examined in terms of the number of banquets held in the respective reigns of the Goryeo kings, the number of banquets held by type, and the purpose of holding them. A royal banquet was a means of strengthening the royal authority by reinforcing the hierarchy and building bonds between the king and his vassals. It was also an act of ruling that demonstrated the king's authority and power through praise of his achievements and virtues. Royal banquets were held most often during the reigns of King Yejong (r. 1105-1122), King Uijong (r. 1146-1170), King Chungnyeol (r. 1274-1308), and King Gongmin (r. 1351-1374). Particular attention is paid here to the changes in the types and forms of celadon wine vessels that occurred starting in the reigns of King Yejong and King Chungnyeol, which is also the period in which the number of royal banquets increased and royal banquet culture evolved. The king and his subjects prayed for the king's longevity at royal banquets and celebrated peaceful reigns by drinking and performing various related acts. Thus, the visual symbolism of vessels for holding, pouring, or receiving alcohol were emphasized. Since the manner of drinking at a banquet was exchanges of pouring and receiving alcohol between the king and his subjects, the design of the ewers and cups had a significant visual impact on attendees. It can be seen, therefore, that decorating wine vessels with Daoist motifs such as the immortals, luan (a mythological bird), turtle dragons, fish dragons, and gourd bottles or with Confucian designs like hibiscus roots was intended as a visual manifestation of the purpose of royal banquets, which was to celebrate the king and to pray for both loyalty and immortality. In particular, the Peach Offering Dance (獻仙桃) and Music for Returning to the Royal Palace (還宮樂), which correspond to the form and design of celadon wine vessels, was examined. The lyrics of the banquet music embodied wishes for the king's longevity, immortality, and eternal youth as well as for the prosperity of the royal court and a peaceful reign. These words are reflected in wine vessels such as the Celadon Taoist Figure-shaped Pitcher housed in the National Museum of Korea and the Bird Shaped Ewer with Daoist Priest in the Art Institute of Chicago. It is important to note that only Goryeo celadon wine vessels reflect this facet of royal banquet culture in their shape and design. The composition of wine vessel sets changed depending on the theme of the banquet and the types of liquor. After Goryeo Korea was incorporated into the Mongol Empire, new alcoholic beverages were introduced, resulting in changes in banquet culture such as the uses and composition of wine vessel sets. From the reign of King Chungnyeol (r. 1274-1308), which was under the authority of the Yuan imperial court, royal banquets began to be co-hosted by kings and princesses, Mongolian-style banquets like boerzhayan (孛兒扎宴) were held, and attendees donned the tall headdress called gugu worn by Mongol women. During the reign of King Chungnyeol, the banquet culture changed 132 banquets were held. This implies that the court tried to strengthen its authority by royal marriage with the Yuan court, which augmented the number of banquets. At these banquets, new alcoholic drinks were introduced such as grape wine, dongnak (湩酪), and distilled liquor. New wine vessels included stem cups, pear-shaped bottles (yuhuchunping), yi (匜), and cups with a dragon head. The new celadon wine vessels were all modeled after metal wares that were used in the Yuan court or in the Khanates. The changes in the celadon wine vessels of the late Goryeo era were examined here in a more specific manner than in previous studies by expanding the samples for the study to the Eurasian khanates. With the influx of new types of wine vessels, it was natural for the sets and uses of Goryeo celadon wine vessels to change in response. The new styles of celadon wine vessels linked the Goryeo court with the distant Khanates of the Mongol Empire. This paper is the beginning of a new study that examines the uses of Goryeo celadon by illuminating the relations between royal banquets and these unique celadon wine vessels that are stylistically different from everyday vessels. It is to be hoped that more studies will be conducted from diverse perspectives exploring both the usage of Goryeo celadon vessels and their users.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• Journal of The Korean Association For Science Education
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• v.34 no.2
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• pp.63-78
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• 2014

Integrative STEM education is an engineering design-based learning approach that purposefully integrates the content and process of STEM disciplines and can extend its concept to integration with other school subjects. This study was part of fundamental research to develop an integrative STEM education program based on the science inquiry process. The specific objectives of this study were to review relevant literature related to STEM education, analyze the key elements and value of STEM education, develop an integrative STEM education model based on the science inquiry process, and suggest an exemplary program. This study conducted a systematic literature review to confirm key elements for integrative STEM education and finally constructed the integrative STEM education model through analyzing key inquiry processes extracted from prior studies. This model turned out to be valid because the average CVR value obtained from expert group was 0.78. The integrative STEM education model based on the science inquiry process consisted of two perspectives of the content and inquiry process. The content can contain science, technology, engineering, and liberal arts/artistic topics that students can learn in a real world context/problem. Also, the inquiry process is a problem-solving process that contains design and construction and is based on the science inquiry. It could integrate the technological/engineering problem solving process and/or mathematical problem solving process. Students can improve their interest in STEM subjects by analyzing real world problems, designing possible solutions, and implementing the best design as well as acquire knowledge, inquiry methods, and skills systematically. In addition, the developed programs could be utilized in schools to enhance students' understanding of STEM disciplines and interest in mathematics and science. The programs could be used as a basis for fostering convergence literacy and cultivating integrated and design-based problem-solving ability.

• Journal of the Korean Institute of Telematics and Electronics B
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• v.33B no.11
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• pp.140-149
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• 1996

Cursive characters are written on an economical principle to reduce the motion of a pen in the limit of distinction between characters. That is, the pen is not lifted up to move for writing a next stroke, the pen is not moved at all, or connected two strokes chance their shapes to a similar and simple shape which is easy to be written. For these reasons, strokes and korean alphabets are not only easy to be changed, but also difficult to be splitted. In this paper, we propose a curvature stroke modeling method for splitting and matching by using a structural primitive. A curvature stroke is defined as a substroke which does not change its curvanture. Input strokes handwritten in a cursive style are splitted into a sequence of curvature strokes by segmenting the points which change the direction of rotation, which occur a sudden change of direction, and which occur an excessive rotation Each reference of korean alphabets is handwritten in a printed style and is saved as a sequence of curvature strikes which is generated by splitting process. And merging process is used to generate various sequences of curvature strikes for matching. Here, it is also considered that imaginary strokes can be written or omitted. By using a curvature stroke as a unit of recognition, redundant splitting points in input characters are effectively reduced and exact matching is possible by generating a reference curvature stroke, which consists of the parts of adjacent two korean alphasbets, even when the connecting points between korean alphabets are not splitted. The results showed 83.6% as recognition rate of the first candidate and 0.99sec./character (CPU clock:66MHz) as processing time.

• Journal of the Korean Society of Food Science and Nutrition
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• v.37 no.12
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• pp.1568-1575
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• 2008

This study was performed to determine alleviating effects of green tea (GT) on the N-nitrosodimethylamine (NDMA) toxicity to mucins in the rat lingual salivary glands. Sprague-Dawley rats were divided into five groups: untreated (Control), one week-NDMA administrated (NDMA), one week-GT administrated after NDMA for one week (NDMAGT), one week-NDMA administrated with GT (GTNDMA), and one-week NDMA administrated with GT after GT for one week (GTGTNDMA). The mucin properties were elucidated by periodic acid Schiff (PAS) reaction, alcian blue (AB) pH 2.5, AB pH 2.5-PAS, aldehyde fuchsin (AF) pH 1.7-AB pH 2.5, and high iron diamine (HID)-AB pH 2.5 staining. The lingual von Ebner's glands of NDMA group showed some changes such as contraction and destruction of the serous acini, decrease and disappearance of the cytoplasmic granules, vacuolation of cytoplasm, and the mucigenous duct cells. Also, in the lingual mucous glands, enlarged lumens, fused acini, disappearance of granules, vacuolation of cytoplasm, and mucigenous duct cells were observed. All the GT administrated groups had a tendency to recover. GTGTNDMA group recovered almost up to the state of the control group. The lingual von Ebner's glands of NDMA group showed a decrease of neutral mucin and the lingual mucous glands showed a decrease of both neutral and acidic mucins decreased in comparison with control group, although mucous acini secreting strong sulfomucin decreased while those secreting non-sulfomucin (sialomucin) increased. All the GT administrated groups had a tendency to recover. The degree of recovery in the GTNDMA group was stronger than in NDMAGT group and that of the GTGTNDMA group was almost up to the state of the control group. Plus, lingual von Ebner's glands of GTGTNDMA group contained much more neutral mucin than in the control group. In conclusion, it is suggested that NDMA exhibit the toxicity which affects on the mucin properties and which green tea alleviates.

• Journal of Broadcast Engineering
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• v.22 no.6
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• pp.829-849
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• 2017

Due to the large-scale TV display, the convergence of broadcasting and broadband, and the advancement of signal compression and transmission technology, terrestrial digital broadcasting has evolved into UHD broadcasting capable of providing simultaneous broadcasting of fixed UHD and mobile HD. The Korean standard for terrestrial UHDTV broadcasting is based on ATSC 3.0, the broadcasting standard of North America. The terrestrial UHDTV broadcasting standard chose that as a new AV codec standard, HEVC video codec which can compress with higher efficiency compared to AVC, and MPEG-H 3D audio codec for realistic audio. Also, DASH and MMT are adopted as transmission format instead of MPEG-2 TS to support broadband as well as broadcasting network, and in order to provide 4K UHD/mobile HD service simultaneously ROUTE multiplexing technology is applied. In this paper, we propose an audio/video encoder, which is required to provide HDR/WCG supported high quality video service, 10.2 channel/4 object supporting stereo sound service, fixed UHD and mobile HD simultaneous broadcasting service based on ATSC3.0, also we implemented the ATSC 3.0 LDM system for ROUTE/DASH packager, multiplexing system and physical layer transmission/reception, and verified the service ability by applying it to real time broadcast environment.

• The Korean Journal of Nuclear Medicine Technology
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• v.18 no.2
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• pp.33-38
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• 2014

Purpose Auto exposure control (AEC) in SPECT/CT automatically controls the exposure dose (mA) according to patient's shape and size. The aim of this study was to evaluate the effect of AEC in SPECT/CT on exposure dose reduction and image quality. Materials and Methods The model of SPECT/CT used in this study was Discovery 670 (GE, USA), Smart mA for AEC; and $^{99m}Tc$ as a radioisotope. To compare SPECT and CT images by CT exposure dose variation, we used a standard technique set at 80, 100, 120, 140 kVp, 10, 30, 50, 100, 150, 200, 250 mA, and AEC at 80, 100, 120, 140 kVp, 10-250 mA. To evaluate resolution and contrast of SPECT images, triple line phantom and flangeless Esser PET phantom were used. For CT images, noise and uniformity were checked by anthropomrphic chest phantom. For dose evaluation to find DLP value, anthropomorphic chest phantom was used and the CT protocol of torso was applied by standard technique (120 kVp, 100 mA) and AEC (120 kVp, 10-250 mA). Results When standard and AEC were applied, the resolutions at SPECT images with attenuation correction (AC) were the same as FWHM by center 3.65 mm, left 3.48 mm, right 3.61 mm. Contrasts of standard and AEC showed no significant difference: standard 53.5, 29.8, 22.5, 15.8, 6.0, AEC 53.5, 29.6, 22.4, 15.7, 6.1 In CT images, noise values at standard and AEC were 15.4 and 18.5 respectively. The application of AEC increases noise but the value of coefficient variation were 33.8, 24.9 respectively, obtaining uniform noise image. The values of DLP at standard and AEC were 426.78 and 352.09 each, which shows that the application of AEC decreases exposure dose more than standard by approximately 18%. Conclusion The results of our study show that there was no difference of AC in SPECT images based on the CT exposure dose variation at SPECT/CT images. It was found that the increased CT exposure dose leads to the improvement of CT image quality but also increases the exposure dose. Thus, the use of AEC in SPECT/CT contributes to obtaining equal AC SPECT images, and uniform noise in CT images while reducing exposure dose.