• Journal of Microbiology and Biotechnology
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• v.23 no.1
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• pp.22-28
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• 2013

Xo2276 is a putative transcription activator-like effector (TALE) in Xanthomonas oryzae pv. oryzae (Xoo). Xo2276 was expressed with a TAP-tag at the C-terminus in Xoo cells to enable quantitative analysis of protein expression and secretion. Nearly all TAP-tagged Xo2276 existed in an insoluble form; addition of rice leaf extracts from a Xoosusceptible rice cultivar, Milyang23, significantly stimulated secretion of TAP-tagged Xo2276 into the medium. In a T3SS-defective Xoo mutant strain, secretion of TAPtagged Xo2276 was blocked. Xo2276 is a Xoo ortholog of Xanthomonas campestris pv. vesicatoria (Xcv) AvrBs3 and contains a conserved DNA-binding domain (DBD), which includes 19.5 tandem repeats of 34 amino acids. Xo2276- DBD was expressed in E. coli and purified. Direct in vitro recognition of Xo2276-DBD on a putative target DNA sequence was confirmed using an electrophoretic mobility shift assay. This is the first study measuring the homologous expression and secretion of Xo2276 in vitro using rice leaf extract and its direct in vitro binding to the specific target DNA sequence.

• Journal of English Language & Literature
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• v.57 no.4
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• pp.625-649
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• 2011

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor's same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz' episode is enveloped by Marlow's tale which is enclosed by the frame narrator's story, in order to penetrate into the mind of ordinary readers in the novelist's age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.143-153
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• 2022

Any kind of animation film are almost inseparable from the role of characters, with distinct personalities, and well-created characters are not only the expressors of narrative and themes, but also the ones who communicate with the audience and form resonance. Nowadays, with the improvement of the public's aesthetics, the production of excellent animation, the characters with a single personality have been almost eliminated. So how to create a profound role has become a topic worthy of study. This paper is based on Freud's theory of personality structure and ego defense mechanism. The main research object is the main character of the animation film "The Tale of The Princess Kaguya". At the end of the thesis, by analyzing Kaguya's image characteristics and individual pursuits, it explores director Isao Takahata's understanding of character shaping. In this way, it also provides a reference to produce animation works.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.367-372
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• 2023

This study analyzed the use of scriptwriting and hologram technology for storytelling in the production of locally-centered cultural and artistic content. The musical <WolhwaJeon>, produced in the Gangneung area, was examined as a case study. The process of creating the script for the performance was used to establish the self-identity of the character "carp" and the stage visualization of the folktale "Yeonhwa." Furthermore, the use of hologram technology to actualize the inner expressions of the characters, deliver information, enhance spatiality, and visualize fantasy elements was examined. Through this approach, educational information about local folktales was provided to the local residents, and their pride in their region was heightened. This locally-centered content requires continuous development in a modern society that pursues cultural diversity, and future research is needed to produce and develop traditional and cultural content in other regions.

• Lettere Italiane
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• no.30
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• pp.205-229
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• 2010

L'italiano ha diverse forme di pronomi clitici che vengono distinti in genere, numero e persona a seconda del nome di partenza. Quando appare un pronome clitico, l'ordine delle parole nella frase cambia: dal tipo normale SVO si passa al tipo SOV come in coreano. I pronomi clitici hanno una caratteristica molto diversa rispetto sia a piena NP sia ad una NP debole, e non sono compatibili con questi NP all'interno della frase, il che significa che i pronomi clitici si muovono in posizione superficiale lasciando la loro posizione originale dopo il verbo. Osservando questo fenomeno (movimento clitico da [DP, VP] a [spec, AgrOP]) e analizzando in questa sede solo il caso del pronome diretto si è cercato di evidenziare le regole precise di tale movimento determinato da "Case licensing" e "feature checking." Seguendo e accettando pienamente la precedente analisi di Belletti(1999), in cui vengono proposte due vie di procedimento del movimento dentro il AgrOP (una è [spec, AgrOP]; l'altra, [Agro, AgrOP], propongo qui l'esistenza di un ordine preciso in tale movimento: nel caso in cui un pronome diretto prenda una via di [spec, AgrOP], 'V' si muove prima fino ad arrivare alla [Agro, AgrSP], poi, 'pro' prosegue la sua strada fino alla [pro, AgrSP], e alla fine, il pronome diretto sale fino alla [spec, TP] per formare la costruzione proclitica; nel caso in cui un pronome diretto prenda invece l'altra via di [Agro, AgrOP], 'pro' sale prima fino alla [spec, AgrSP] tramite il movimento 'spec to spec', successivamente il 'pronome diretto' si muove verso la [Agro, AgrSP], e infine 'V' si sposta verso la [Agro, AgrSP] per formare la costruzione enclitica.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.117-142
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• 2012

The education of children is one of the most important parts in children's literature. Children's literature, whose implied readers are both children and parents, is a good means to teach how they should behave and interact. Therefore, literary conventions of children's literature tend to be conservative with happy endings or fairy tale elements. Most of the children's literature of the 18th century were read as a conduct book which teaches children good manners and proper behavior, and at the same time served as a guidebook which tells parents how to discipline children. It emphasized the need of discipline to ascertain the hierarchy and order of the family, and cherished the close relationship between parents and children. In the 19th century, the ideal of family becomes more internalized. In the early 20th century, the ideology of family still remained, even though the world wars and economic depressions caused the cracks and collapses of the family. In the later 20th century, the disintegration of the traditional family was accelerated. The ideal of family based on the close relationship between parents and children, has had problems from the start. The attachment and over-closeness became stressful and sometimes could be poisonous. Recent children's literature shows the process of disintegration of the traditional nuclear family, children suffering in the fractured family, children's mental trauma, and nostalgia for the lost family. However, modern children's literature manages to find the lost or ideal surrogate family, and often shows fairy-tale elements such as mystical and heroic child protagonists or helpers who might solve all the difficult problems at once, despite the collapse of the family in reality.

• Journal of Korean Classical Literature and Education
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• no.37
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• pp.253-281
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• 2018

The purpose of this paper is to analyze the meaning of of "Nikolai Garin - Mikhailovsky's the "Joseon tale". talks about the origins of the Joseon Dynasty and the Qing Dynasty. In this paper, we revealed the features of the form of "Otter Legend". And analyzed the confrontation between Nurhachi's family and Yi Seong-gye's family shown in the story. The result is as follows. is complex tale. The start of is 'the typr of Yaraeja'. Next is the story of Myoung-Dang. Myoung-Dang is deep in the water. also has anecdotes of Jeong, Chung-shin. rearranged at least three stories or more. transformed each type of stories, communing the different patterns of stories with different logic. The basic logic of the transformation was to maximize the confrontation between the NuruhachI and Yi Seong-gye clans, the origins of Manchuria and the Chosun Dynasty. As a result, the sacredness of Nurhachi's Family, the origin of the Qing Dynasty, was expanded. On the other hand, Yi Seong-gye s Family was less extraordinary than Nurhachi's Family. Also, the ability of the person is also inferior. This is not the yearning for the Qing Dynasty. This is because the Qing Dynasty and the Joseon have the same pedigree. shows that the Qing Dynasty's experiences should be shared since the Qing Dynasty was born of another clan of Joseon. This is a new perception of Qing Dynasty. This is similar to the interpretation that dragged the Qing Dynasty's history into the Joseon's ethnographic historical point of view.

• Sim-seong Yeon-gu
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• v.25 no.2
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• pp.224-264
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• 2010

A brief story of the tale follows : Mokdoryung was a son of an arbor tree and a fairly. When the boy was 7-8 years old, mother-fairy returned to the sky. By using father-tree, Mokdoryung survived from the flood where he saved ants, mosquitos, and a boy with the same age. They arrived on top of the highest mountain, met an old woman with two daughters, worked as servants. With help of insects, Mokdoryung passed the trials, married to a wise daughter and 2 couples became the ancestor of the mankind. Interpretation of the tale starts with amplification of tree which symbolizes Self and Libido. As the son of the tree-spirit and a fairly from the sky, Mokdoryung is a kind of 'divine child' which represents a psychic possibility to understand archetypal nature of unconscious. Adversities of early childhood due to mother's absence regarded as necessary condition for 'divine child' to attain highest good. Flood can be compensation of absence of feminine as well as to bring a new life. The notion of father·tree becomes a kind of life-boat has to do with union of opposite(vertical phallic tree and horizontal feminine boat). Ants and mosquitoes represent upper and lower level of unconsciousness, they mediate divine power. Therefore respecting insects means respecting unconscious, and reward of insects means salvation come from unconscious. The boy saved from the flood presents emergence of psychic energy in its latent unconscious condition to create mental dynamism. The old woman is Great Mother or anima, the controller or guider of unconscious. Working as servants can be an active service for the divine marriage. Trials of separating millet from sand, and finding right direction relate to separatio, means one needs to be separated from unconscious before conunctio, union of opposite. Two sets of couple becoming ancestor of man-kind has to do with number 4 (quaternity) as well as regeneration. Although the tale includes both positive couple (Mokdoryung, wise daugther in east room). and negative couple(shadow side of Mokdoryung, step daughter in west room)as ancestors of mankind, "Good" seems to be more valued than "evil".

• Sim-seong Yeon-gu
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• v.32 no.2
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• pp.122-168
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• 2017

I tried to understand a folk tale "The half-boy" in terms of analytical psychology. In the story, a lady without children prayed to the Buddha. The white old man came and gave three fishes, but the cat ate half of it. So, she ate two and a half. She gave birth to two perfect sons. The third son had one arm, one leg, and one eye. They grew well. Brothers went to take the civil service examinations, and the half-boy followed. But two brothers did not like the half-boy coming along. So, brothers tied the half-boy to the rocks and trees, and he picked them up with force and gave them down to the yard of the house. And the half-boy followed his brothers again, and brothers tied him with kudzu and put him in front of the tiger. The half-boy won the tiger by betting with cutting kudzu. The half-boy stripped off the tiger's skin. The host coveted the tiger skin and they played with janggi. The half-boy won the game and was permitted to take host's daughter. The half-boy went with a string, a drum, a flea, and a bedbug. He teased host's people with these. The half-boy brought a virgin and lived well. "The Half-Boy" folktale is an old story spread throughout the country. There are similar stories in India and Africa. Unilateral figures are universally distributed archetypal images. In numerous cultures gods and spirits are being portrayed as unilateral figures. In the creation mythology, half-figure beings have immortality. In Indonesian and African folk tales, the half-born boy goes to heaven and merges with its half and becomes perfect. Some of one-sided spirits are harmful to humans but some of one-sided birds, chickens, and spirits are helpful to people. Sometimes half being is a cultural hero who steals grain from heaven or gets some advice how to use bamboo. There are stories that half body becomes a whole body afterwards. But in this folktale and most of the similar folktales, half-figure does not change and maintains half-figure to the end. And as a half-figure he does various great things and marries a virgin. The half-boy symbolizes a psychic experience born in the unconscious. The unconscious contents may seem strange and weird at first and the collective consciousness does not want to accept them. But the unconscious exerts greater power and brings vitality and creativity to consciousness. This folk tale seems to have compensated for the stubborn collective consciousness of our society, which was a Confucian class society. It also allows people to change their attitude toward disabled people and recognize strengths and creativity of the handicapped.

• Korean Journal of Child Studies
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• v.28 no.3
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• pp.235-250
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• 2007

Using content analysis this study examined Korean people's traditional view on children with disabilities, hoping to contribute to the selection of appropriate picture books for an understanding of disabilities in kindergartens and child care centers. Story book characters with disabilities mainly interacted with their families and village people, had lower positions, did not accomplish their work on their own, and suffered from others' anger and beating. Differences in types of disabilities were that physical disabilities were viewed positively, while mental disabilities were viewed negatively. The former had wider scope of activities and maintained more positive relationships with other characters than the latter; furthermore, the former had higher position than the latter and had cooperative interactions with people without disabilities.