• Asian Pacific Journal of Cancer Prevention
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• v.15 no.24
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• pp.10911-10916
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• 2015

Background: Tumor metastases are the main reasons for oncotherapy failure. Paris polyphylla (Chinese name: Chonglou) has traditionally been used for its anti-cancer actions. In this article, we focus on the regulation of human lung cancer A549 cell metastases and invasion by Paris polyphylla steroidal saponins (PPSS). Materials and Methods: Cell viability was evaluated in A549 cells by MTT assay. Effects of PPSS on invasion and migration were investigated by wound-healing and matrigel invasion chamber assays. Adhesion to type IV collagen and laminin was evaluated by MTT assay. Expression and protease activity of two matrix metalloproteinases (MMPs), MMP-2 and MMP-9, were analyzed by Western blotting and gelatin zymography, respectively. Results: PPSS exerted growth inhibitory effects on A549 cells, and effectively inhibited A549 cell adhesion, migration and invasion in a concentration-dependent manner. Western blotting and gelatin zymography analysis revealed that PPSS inhibited the expression and secretion of MMP-2 and MMP-9 in A549 cells. Conclusions: PPSS has the potential to suppress the migration, adhesion and invasion of A549 cells. PPSS could be a potential candidate for interventions against lung cancer metastases.

• Archives of Plastic Surgery
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• v.47 no.2
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• pp.194-197
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• 2020

Anterior neck burns represent a major reconstructive challenge due to severe sequalae including restriction in movement and poor aesthetic outcomes. Common treatment options include skin grafting with/without dermal matrices, and loco-regional and distant free flap transfers with/without prior tissue expansion. Such variation in technique is largely influenced by the extent of burn injury requiring resurfacing. In order to optimize like-for-like reconstruction of the anterior neck, use of wide, thin and long flaps such as the anterolateral thigh (ALT) perforator flap have been reported with promising results. Of note, some patients have a tendency towards severe scar contractures, which may be contributed by the greater extent of inflammation during wound healing. We report our experience at 4 years' followup after secondary reconstruction of severe, anterior neck burn contractures in two patients by harvesting the ALT flap with a butterfly design. This technique provides adequate wound resurfacing of the burned neck and surrounding areas, and provides good neck extensibility by addressing both anterior and lateral aspects of the scar defect simultaneously. Such a flap design reduces tension on wound edges and thus, the risk of contracture recurrence in what remains a particularly challenging type of burn reconstruction.

• Cross-Cultural Studies
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• v.33
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• Journal of Fashion Business
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• v.13 no.6
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• Structural Engineering and Mechanics
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• v.38 no.6
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• pp.767-802
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• 2011

Developers of new finite elements or nonlinear solution techniques rely on discriminative benchmark tests drawn from the literature to assess the advantages and drawbacks of new formulations. Buckling benchmark tests provide a rigorous evaluation of finite elements applied to thin structures, and a complete and detailed set of reference results would therefore prove very useful in carrying out such evaluations. Results are usually presented in the form of load-deflection curves that developers must reconstruct by extracting the points, a procedure which is often tedious and inaccurate. Moreover the curves are usually given without accompanying information such as the calculation time or number of iterations it took for the model to converge, even though this type of data is equally important in practice. This paper presents ten different limit-point buckling benchmark tests, and provides for each one the reference load-deflection curve, all the points necessary to recreate the curve in tabulated form, analysis data such as calculation time, number of iterations and increments, and all of the inputs used to obtain these results.

• Journal of Species Research
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• v.10 no.2
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• pp.164-167
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• 2021

According to Article 9.3 of the International Code of Nomenclature for algae, fungi, and plants(Shenzhen Code), a lectotype may be selected as the nomenclatural type from the original material, if the name was published without a holotype. While reviewing the genus Scrophularia collected in Northeast Asia, we found that two species, S. alata A. Gray and S. kakudensis Franch., were still untypified. S. alata has three specimens considered as syntypes in two herbaria, Harvard University and the Smithsonian Institution. For S. kakudensis, two specimens considered as syntypes at the Muséum National d'Histoire Naturelle, Paris were classified as normal specimens, not type specimens. Therefore, two species of Scrophularia L. namely, S. alata A. Gray and S. kakudensis Franch., are lectotypified. The lectotypes are kept in the Harvard University and the Muséum National d'Histoire Naturelle, Paris, respectively. Furthermore, some nomenclatural issues related to these names are discussed, and the photographs of the selected lectotypes are provided.

• Korean Journal of Soil Science and Fertilizer
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• v.41 no.3
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• pp.214-222
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• 2008

This study was carried out to investigate the distribution characteristics, colonization patterns of arbuscular mycorrhizal fungi (AMF) at Ginseng- cultivated fields in Jeonnam province including Gokseong, Yeonggwang, Yeongam and Haenam area. Average density of AMF spores in all of analyzed areas was in the range of $3.4{\sim}5.9spores\;g^{-1}$ air-dried soil and spore density in the soil was increased gradually up to Ginseng cultivated fields grown for 3 years. However, AMF spore densities in the marginal field soil were $6.3{\sim}14.7spores\;g^{-1}$ air-dried soil and it was higher than those in Ginseng-cultivated field soils. A $45{\sim}106{\mu}m$ in diameter of AMF spores by size was dominant (74.3%) in Ginseng cultivated fields. AMF colonization association type in Ginseng roots was a Paris-type. Average rates of AMF infection ranged from 40% to 50%, while 64.4% of AMF infection occurred in Yeongam area. External hyphae length (EHL) in the rhizosphere soil of Ginseng cultivated field was in the range of $0.5{\sim}4.4m\;g^{-1}$ air-dried soil and the hyphae quantity was gradually increased proportional to increment of Ginseng cultivation years.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.91-109
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• 2013

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.