• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.51
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• pp.3-54
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• 2011

The important and main purpose of revision of Incoterms rules are to adapt it to contemporary commercial practice in world trade, and to contribute to great service to foreign trade. Incoterms$^{(R)}$ 2010 revision basically focuses on trade terms to be used for any mode or modes of transport at compared Incoterms 2000 gouping in four basically different categories, and presents trade terms to be used for traditionally seaborn trade. Therefore the former is for trading in manufactured goods involved in containerization, the latter is for trading in community. This study focuses on a motive of revisions and main features of the Incoterms$^{(R)}$ 2010 rules, an outline, the problems and alternative of them. In conclusion, I would like present as follows; (1) Although they only concerned the models of delivery and critical point, they only say a few of the many factors of a sale contract, that is to say for the devision of fuctions, costs and risks between the contracting parties as supplement law, but the guestion of the legal position of Incoterms rules is various in different countries and scholars. in spite of that, it must focus on the practical application and the wide acceptance of Incoterms rules in world trade. (2) Although they present more simple and clear, unfricative, than Incoterms 2000 rules, in order to help users, the need to unify consistently and fully explanate in contents and expression. (3) Introduction and guidance note of Incoterms$^{(R)}$ 2010 rules basically focuses on the understanding of a motive of revisions as compared Incoterms 2000 rules. But it is well advised to do this on the assumption of understanding the various basic meaning of terms. (4) finally, trade concerned regulations take account of the reflection for the application to domestic and international trade according to formally reconization of availability for both trade.

• Korean Journal of Social Welfare
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• v.63 no.2
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• pp.155-177
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• 2011

This paper attempts to explore the universal foundation on which the discourses on the validity criteria in qualitative research should be based, and further discuss in depth the scope and direction of an adequate validity criterion in qualitative research by critical examination of previous discourses. To establish the foundation for qualitative research, first of all, the concept of quality and qualitative paradigm were examined in terms of ontology and epistemology, especially focused on the works carried out by Aristotle, Kenneth and Boyd. Secondly, the earlier studies on the validity of qualitative research were critically reviewed in terms of the theoretical findings on the concept of quality and qualitative paradigm. The major results include the following: First, the true content of quality is defined as the 'what-ness' or essence of things perceived by subjects, and qualitative paradigm as adequate framework for qualitative research is comprised of two intrinsic modes: one is the mode of awareness and the other is that of expression. Second, qualitative researchers are able to reach to the higher level of validity by considering not only the subjectivity and the originality but also the sociality in drawing a conclusion through qualitative perception. Third, the trend of previous validity discourses can be firmly summarized as the effort to overcome the effect of quantitative research and acquire the true identity for qualitative research, which is subjectivity, and as the quest to compromise the tension between subjectivity and sociality. Finally, based on the findings, several research topics are suggested. For example, the more attention should be paid to the area of the expression of qualitative awareness as a way of overcome the tension between subjectivity and publicness.

• ALGAE
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• v.30 no.2
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• pp.163-170
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• 2015

Tyrosinase inhibitors are an important component of cosmetic products. Our previous studies have proposed that eckol isolated from the brown alga Ecklonia cava, can be explored as a tyrosinase inhibitor. However, cellular activities and mechanism of action of eckol remain unknown. Therefore, the current study analyzed the eckol binding modes using the crystal structure of Bacillus megaterium tyrosinase. The effects of eckol on melanin synthesis induced by ${\alpha}$-melanocyte stimulating hormone in B16F10 melanoma cells were also investigated. We predicted the 3D structure of tyrosinase and used a docking algorithm to simulate binding between tyrosinase and eckol. These molecular modeling studies were successful (calculated binding energy value, $-115.84kcal\;mol^{-1}$) and indicated that eckol interacts with Asn205, His208, and Arg209. Furthermore, eckol markedly inhibited tyrosinase activity and melanin synthesis in B16F10 melanoma cells. We also found that eckol decreased the expression of tyrosinase, tyrosinase-related protein (TRP) 1, and TRP2. These results indicate that eckol is a potent inhibitor of melanogenesis, and this finding may be useful for the development of novel pharmaceutical and cosmetic agents.

• Lingua Humanitatis
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• v.1 no.1
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• pp.13-31
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• 2001

This essay seeks new possibilities in experimental thinking and to find ways in which philosophy can aid humanistic imagination. In emphasizing logical precision, philosophy has so far ignored the role of imagination in philosophical logic and limited itself to deductive logic. Despite the obvious fact that no degree of logical precision can fully account for, nor provide complete expression for, the vast range of human thought, other modes of thinking have suffered in the shadow of deductive logic. But these non-deductive models of thinking can in many cases better explain the emotive, aesthetic logic of the humanities. The kinds of models (deductive and non-deductive) in humanistic thinking include dialectic, abductive, analogic, pragmatic, inductive, and deductive logic. Each mode of logical thinking may be assigned a color that represents its emotive characteristics: red for dialectics (opposition): blue for abduction (transcendence); yellow for analogy (flexibility); green for pragmatics (peace); violet/purple for induction (fantasy); and finally orange for deduction (trust). And each mode can also be keyed to major areas in humanistic thought, making up the following connections: dialectic-red-history; abduction-blue-literature; analogy-yellow-philosophy ; pragmatics-green-religion ; induction-violet/purple-arts; and deduction-orange-science. These connections serve to illustrate the interrelationship between emotion and intelligence, leading us toward considerations of emotional intelligence and intelligent emotion. The former is increasingly gaining attention, as the effect of 'mood space' on intelligence is being scrutinized. That the rate of suicide among mathematicians is very high points to the need for careful study of the reverse relationship between emotion and intelligence, intelligent emotion. The need for the latter is all the more pressing, as the emergence of new technology is allowing, even forcing, us more and more to experience the world intellectually (i.e., sans emotive experience) through a new virtual space called cyberspace.

• Molecules and Cells
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• v.44 no.5
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• pp.310-317
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• 2021

Cluster of differentiation 1 (CD1) is a family of cell-surface glycoproteins that present lipid antigens to T cells. Humans have five CD1 isoforms. CD1a is distinguished by the small volume of its antigen-binding groove and its stunted A' pocket, its high and exclusive expression on Langerhans cells, and its localization in the early endosomal and recycling intracellular trafficking compartments. Its ligands originate from self or foreign sources. There are three modes by which the T-cell receptors of CD1a-restricted T cells interact with the CD1a:lipid complex: they bind to both the CD1a surface and the antigen or to only CD1a itself, which activates the T cell, or they are unable to bind because of bulky motifs protruding from the antigen-binding groove, which might inhibit autoreactive T-cell activation. Recently, several studies have shown that by producing T_H2 or T_H17 cytokines, CD1a-restricted T cells contribute to inflammatory skin disorders, including atopic dermatitis, psoriasis, allergic contact dermatitis, and wasp/bee venom allergy. They may also participate in other diseases, including pulmonary disorders and cancer, because CD1a-expressing dendritic cells are also located in non-skin tissues. In this mini-review, we discuss the current knowledge regarding the biology of CD1a-reactive T cells and their potential roles in disease.

• Archives of design research
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• v.15 no.4
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• pp.223-230
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• 2002

As evolution of multimedia technology brings changes to industries concerned with design, new education program is needed to cultivate designers with abilities which are adapted to changed circumstance. This paper is purposed to show guideline to set up a fundamental course for multimedia design in which students know what are new presentation modes and learn how to use them, Multimedia design call for abilities of organizing information, representing, and implementing interactivity. Among them, fundamental course considers representing information as central subject. And it also contains lessons which are relative to proceeding courses. It should have students to experience creative composition and various expressions, and study cognitive or aesthetic effects of them. All activities are based on the understanding about presentation factors and principles. Basic course's lessons are composed by two main subjects, which are essential expression and matters relative to organization and interactivity. Described in detail, lessons are divided into three phases. First phase is combining presentation factors for affective effects, second is delivering message of various knowledges and third is forming simple interaction.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• The Journal of Korean Academy of Prosthodontics
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• v.47 no.1
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• pp.1-11
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• 2009

Statement of problem: There are two methods of color choice for the esthetic restoration. One is visual shade matching which draws a comparison between shade guide and teeth in dentist's own eye and the other is using a digital shade analysis system recently introduced. Although the visual shade matching has a lot of problems, decision of color by this visual shade matching and the ways of expression for the decided color are still applicable to clinical dentistry. Purpose: This study is designed to investigate shade guides used in the dental clinics and laboratories have the same value using ShadeEye-$NCC^{(R)}$ dental chroma meter (Shofu Inc., Kyoto, Japan) using shade guide are evaluated. Material and methods: At the first experiment, eight Vita Lumin Vacuum shade guides (Vident Inc., California, USA) were collected from the dental clinics. A1 and B1 shade tabs are chosen and the colors are analyzed five times each in both tooth and porcelain modes by digital shade analysis system, ShadeEye-$NCC^{(R)}$. In the second experiment, twelve Vita shade guides using practically in the dental clinics and laboratories were collected and also A1 and B1 shade tabs are chosen and the colors of A1 and B1 are analyzed one time each in both tooth and porcelain modes by ShadeEye-$NCC^{(R)}$. Results and conclusion: There were significant differences among eight shade guides in terms of shade (chroma), value and hue in both of A1 and B1 (P<.05). Shade guides using in present both dental clinics and laboratories did not show significant differences, except A1 in the porcelain mode, it showed significant differences (P<.05) in the shade even though the shade tab has the same name.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.