• Korean Journal of Microbiology
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• v.49 no.2
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• pp.205-210
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• 2013

Lumazine protein is a fluorescent protein isolated from the bioluminescent bacteria of Photobacterium species. To generate minimal size of lumazine protein with possessing fluorescent characteristic, the gene coding for the wild type N-terminal domain of lumazine protein (N-LumP 118) containing amino acids up to 118 from Photobacterium leiognathi was produced. In addition, the genes coding for the variant proteins of N-LumP 118, replaced with one tryptophan amino acid (N-LumP 118 V41W, S48W, T50W, D64W, and A66W), were also constructed by Polymerase Chain Reaction and Site Directed Mutagenesis. These proteins were expressed in Escherichia coli by transformation with recombinant plasmids and purified by 6X-His tagging system. Spectroscopic studies have show that the purified proteins are capable of binding to the fluorescent ligand 6,7-dimethyl-8-ribityllumazine, resulted in showing of fluorescent characteristic with the minimal size of protein. From these studies, the mutant proteins containing single tryptophan amino acid residue, possessing its own intrinsic flouophore character at the different position, will be able to the use as a probe for further studies to deduce their three dimensional structure and the binding modes.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.23-34
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• 2019

The space before modern times is fixed and closed, then that after modern times is flexible and open. Based on the concept of space, the modern art exhibition hall gradually shifts from the interior space of a building to the outdoor space, giving birth to the concept of outdoor art pavilion. Based on this background, we analyzed and learned about the latest deformable art pavilions, focused on the investigation of its space performance characteristics and the case analysis, fully understood the design principles of deformable pavilions, and proposed the basic design directions and strategies for future research. Firstly, through learning the theories of transformable space, the characteristics and concept range of deformable space are understood. Secondly, based on the preliminary research and analysis of art pavilions, the performance characteristics are summarized. Thirdly, the pattern of deformable space and the method of reflecting the characteristics of deformable space are investigated based on cases. After summarizing the case analysis, we identified the differences of different art pavilions between deformable modes and space characteristics, and analyzed the causes. This work provides a basis for distinguishing the transformation patterns of the deformable space, and reveals the changes in space concepts and the expansion of space meaning in future architectural space design.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.36 no.5A
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• pp.511-520
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• 2011

In this paper, we introduce a multiuser (MU) scheduling method for multiuser amplify-and-forward relay systems, which selects both the transmission mode, i.e., either one- or two-hop transmission, and the desired user via two steps. A closed-form expression for the average achievable rate of the proposed scheduling is derived under two transmission modes with MU scheduling, and its asymptotic solution is also analyzed in the limit of large number of mobile stations. Based on the analysis, we perform our two-step scheduling algorithm: the transmission mode selection followed by the user selection that needs partial feedback for instantaneous signal-to-noise ratios (SNRs) to the base station. We also analyze the average SNR condition such that the MU diversity gain is fully exploited. In addition, it is examined how to further reduce a quantity of feedback under certain conditions. The proposed algorithm shows the comparable achievable rate to that of the optimal one using full feedback information, while its required feedback overhead is reduced below half of the optimal one.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• KIPS Transactions on Software and Data Engineering
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• v.3 no.1
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• pp.19-30
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• 2014

For the expansion of the Semantic Web, studies in converting the data stored in the relational database into the ontology are actively in process. Such studies mainly use an RDB to RDF mapping model, the model to map relational database components to RDF components. However, pre-proposed mapping models have got different expression modes and these damage the accessibility and reusability of the users. As a consequence, the necessity of the standardized mapping language was raised and the W3C suggested the R2RML as the standard mapping language for the RDB to RDF model. The R2RML has a characteristic that converts only the relational database schema data to RDF. For the same reasons above, the ontology about the relation data between table name and column name of the relational database cannot be added. In this paper, we propose an RDB to RDF mapping system considering semantic relations of RDB components in order to solve the above issue. The proposed system generates the mapping data by adding the RDFS attribute data into the schema data defined by the R2RML in the relational database. This mapping data converts the data stored in the relational database into RDF which includes the RDFS attribute data. In this paper, we implement the proposed system as a Java-based prototype, perform the experiment which converts the data stored in the relational database into RDF for the comparison evaluation purpose and compare the results against D2RQ, RDBToOnto and Morph. The proposed system expresses semantic relations which has richer converted ontology than any other studies and shows the best performance in data conversion time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.26 no.1
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• pp.32-39
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• 1981

In order to study the genetic system of the blast resistant varieties, the conidial suspension of mutant races of T-2$^{+t}$, N-2$^{+t}$, C-8$^{+t}$ was inoculated at 4-5 leaf stage by injector for F_2 seedlings from the crosses between seven resistant varieties and four maker lines easily detectable at seedling stage. The results are summarized as follows; 1. The fertility of cross between Semi-dwaf testers and Indica resistant varieties except Carreon was about 74 percents. 2. The segregation modes of resistance varied with varieties and blast races. However, the resistance was expressed as dominance in all cases. Tetep, Tadukan and Carreon showed more complicated segregation for resistance than that of the bred lines. 3. For blast races used, four segregation ratios such as 3:1, 9:7, 13:3 and 37:27 were found in the Tatukan, Tetep, and IR747, and three segregation ratios such as 3:1, 13:3 and 15:1 in the Carreon, and two segregation ratios of 3:1 and 13:3 with Suweon 287, Suweon 288, and Iri342. 4. In the segregation of the resistance to the each races, the ratios of 3:1, 13:3, 15:1 were fitted to T-2$^{+t}$, and the ratios of 3:1, 13:3, 9:7 and 37:27 to N-2$^{+t}$ and C-8$^{+t}$. 5. Suweon 287, Suweon 288 and Iri342 carried one simple dominant gene and inhibitor gene was considered in some cross combinations. Meanwhile Tadukan, Tetep and IR747 seemed to carry one to three resistant genes, and in some cross combinations, the expression of these genes were simple dominant, inhibiting, duplicating and complimentary action. 6. Resistance genes to blast races, T-2$^{+t}$, N-2$^{+t}$ and C-8$^{+t}$ in the Tadukan, Tetep, Carreon, Suweon 287, Suweon 288 and Iri342 were found to be independent with the linkage group of II(lg), VIII(la), XI(bc), and XII(gl).bc), and XII(gl).

• (The)Study of the Eastern Classic
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• no.73
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• pp.65-89
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• 2018

This paper was triggered by the idea that the culture of ancestral rites and the patrilocality, which entail the excessive sacrifice on the part of the wife, that eventually led to the coinage of the expression, "housewives' holiday stress," is perhaps not the age-old traditions it claim to be, but rather a recent phenomenon. The purpose of this paper is to reveal that the loss of housewife's authority is the product of "becoming yangban (aristocrats)," which was a culture that was in fashion in the late Joseon dynasty. Until the late Joseon dynasty, women, in particular, the married women maintained an autonomous life which allowed them the authority to an extent, based on their properties that they brought from and the ties that they maintained with their original family and. However, such authority of the housewives disappeared since the invasion of Joseon by Japan and Qing in the year of Imjin (1592) and Byeongja (1636), respectively, as the daughters were excluded from receiving inheritance in a desperate attempt to maintain the impoverished family after the wars. However, patriarchy based on neo-Confucian custom and convention of patriarchal clan system could not spread to the entire population immediately after the wars, as it was impossible to include everyone in the aristocratic class (yangban). It was due to the increase of aristocrats within the continued social changes that occurred after the wars that the neo-Confucian patriarchy became the norm and ethical standard in Joseon society. Also, the theory of propriety in neo-Confucianism that everyone from the emperor down to commoners must abide by the patriarchal clan system was realized through Zhuzi jiali, i.e. Master Zhu's Family Rituals, which institutionalized the system of family rites by setting up ancestral shrines in every household. For the aristocrats who lost their financial footing, the only basis they could rely on to prove their aristocratic lineage is the strict compliance with the rituals. Also, for the once commoners who turned into aristocrats one day had to emphasize the formal propriety in order to distinguish themselves from the commoners. Hence, the culture of "becoming yangban" in the nineteenth-century Joseon was what solidified the patriarchal rituals, decorum, and clan system. As a result, women have become subordinated to the husband's families, which forced the women, i.e. the housewives to serve them and sacrifice themselves for them. At times, women self-imposed such restraints on them as they led themselves into believing that it was necessary to maintain the family for their sons.