• International Area Studies Review
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• v.15 no.1
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• pp.525-547
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• 2011

Currently, about 58 million Korean Japanese reside in Japan. To overcome the discrimination of the Japanese government and society, the previous generation of Korean Japanese had been maintaining a strong ethnic identity in Japan. But some of Korean Japanese adolescents were naturalized by the Japanese government's assimilation policy. As a result, Korean nationality disclaimer has been increasing. In this context, this study examines what is the determining factors of ethnic identity of Korean Japanese youth, and explores the effect of ethnic identity. The main results of this study are as follows. First, age, name, nationality, school, parental influence, and Korean language skills were confirmed as the determining factors of ethnic identity. Second, Strong ethnic identity of adolescents prevents from naturalization, increases lots of interests about Korea, and makes them positive participation in the Korean network.

• Animal Bioscience
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• v.37 no.2_spc
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• pp.337-345
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• 2024

Ruminants possess a specialized four-compartment forestomach, consisting of the reticulum, rumen, omasum, and abomasum. The rumen, the primary fermentative chamber, harbours a dynamic ecosystem comprising bacteria, protozoa, fungi, archaea, and bacteriophages. These microorganisms engage in diverse ecological interactions within the rumen microbiome, primarily benefiting the host animal by deriving energy from plant material breakdown. These interactions encompass symbiosis, such as mutualism and commensalism, as well as parasitism, predation, and competition. These ecological interactions are dependent on many factors, including the production of diverse molecules, such as those involved in quorum sensing (QS). QS is a density-dependent signalling mechanism involving the release of autoinducer (AIs) compounds, when cell density increases AIs bind to receptors causing the altered expression of certain genes. These AIs are classified as mainly being N-acyl-homoserine lactones (AHL; commonly used by Gram-negative bacteria) or autoinducer-2 based systems (AI-2; used by Gram-positive and Gram-negative bacteria); although other less common AI systems exist. Most of our understanding of QS at a gene-level comes from pure culture in vitro studies using bacterial pathogens, with much being unknown on a commensal bacterial and ecosystem level, especially in the context of the rumen microbiome. A small number of studies have explored QS in the rumen using 'omic' technologies, revealing a prevalence of AI-2 QS systems among rumen bacteria. Nevertheless, the implications of these signalling systems on gene regulation, rumen ecology, and ruminant characteristics are largely uncharted territory. Metatranscriptome data tracking the colonization of perennial ryegrass by rumen microbes suggest that these chemicals may influence transitions in bacterial diversity during colonization. The likelihood of undiscovered chemicals within the rumen microbial arsenal is high, with the identified chemicals representing only the tip of the iceberg. A comprehensive grasp of rumen microbial chemical signalling is crucial for addressing the challenges of food security and climate targets.

• Journal of Information Technology Applications and Management
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• v.30 no.1
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• pp.115-126
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• 2023

In various fields such as art, design, music, film, sports, games, and fashion, NFTs (Non-Fungible Tokens) are creating new economic value through trading platforms dedicated to NFT art and content. In this article, I analyze the current state of blockchain technology and NFT art content in the context of an expanding market for blockchain-based NFT art content in the metaverse. I also propose several tasks based on the economic and industrial logic of technological innovation. The first task proposed is to integrate cultural arts on blockchain, metaverse, and NFT platforms through digital innovation, instead of separating or distinguishing between creative production and consumption. Before the COVID-19 pandemic, there was a clear separation between creators and consumers. However, with the rise of Web 3.0 platforms, any user can now create and own their own content. Therefore, it is important to promote a collaborative and integrated approach to cultural arts production and consumption in the blockchain and metaverse ecosystem. The second task proposed is to align the legal framework with blockchain-based technological innovation. The enactment and revision of relevant laws should focus on promoting the development of the NFT trading platform ecosystem, rather than merely regulating it for user protection. As blockchain-based technology continues to evolve, it is important that legal systems adapt to support and promote innovation in the space. This shift in focus can help create a more conducive environment for the growth of blockchain-based NFT platforms. The third task proposed is to integrate education on digital arts, including metaverse and NFT art contents, into the current curriculum. This education should focus on convergence and consilience, rather than merely mixing together humanities, technology, and arts. By integrating digital arts education into the curriculum, students can gain a more comprehensive understanding of the potential of blockchain-based technologies and NFT art. This article examines the digital technological innovation such as blockchain, metaverse, and NFT from an economic and industrial point of view. As a limitation of this research, the critical mind such as philosophical thinking or social criticism on technological innovation is left as a future task.

• Microbiology and Biotechnology Letters
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• v.52 no.2
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• pp.141-151
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• 2024

Isochrysis sp. is a sea microalga that has become a species of interest because of the extreme lipid content and rapid growth rate of this organism indicating its potential for efficient biofuel production. Using genome sequencing/genome-scale modeling for the prediction of Isochrysis sp. metabolic utilities there is high scope for the identification of essential pathways for the extraction of byproducts of interest at a higher rate. In our work, we design and present iIsochr964, a genome-scale metabolic model of Isochrysis sp. including 4315 reactions, 934 genes, and 1879 metabolites, which are distributed among fourteen compartments. For model validation, experimental culture, and isolation of Isochrysis sp. were performed and biomass values were used for validation of the genome-scale model. OptFlux was instrumental in uncovering several novel metabolites that influence the organism's metabolism by increasing the flux of interacting metabolites, such as Malonyl-CoA, EPA, Protein and others. iIsochr964 provides a compelling resource of metabolic understanding to revolutionize its industrial applications, thereby fostering sustainable development and allowing estimations and simulations of the organism metabolism under varying physiological, chemical, and genetic conditions. It is also useful in principle to provide a systemic view of Isochrysis sp. metabolism, efficiently guiding research and granting context to omics data.

• Journal of The Korean Association For Science Education
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• v.37 no.6
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• pp.937-949
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• 2017

In this study, we investigated how science teachers perceive the changes in school systems, including infrastructure and curriculum, in the context of preparing for future education. And the changes in their perception of the educational environment, the challenges, and changes of science teachers' classroom practices were also explored. In-depth interviews and analysis were conducted with two science teachers in a middle school that is trying to innovative on changes compared with general schools. The results of the study are as follows: First, teachers perceived that their schools had factors that could change the science class in terms of school size and infrastructure, peer teacher culture, and students' abilities. Second, the enthusiasm of teachers who are trying various ways of teaching and the students' ability to adapt in a smart learning environment formed a synergistic circle that lowered entry barriers to trying changes. Third, science classes changed to activity-centered classes, and teachers realized that these changes promoted students' self-directed learning. Fourth, teachers perceived themselves as playing an independent role in curriculum management, and this perception promoted more varied attempts in improving their classes. Through the changes of the learning environment and systems of the school and the formation of a culture that shares their challenges and innovations with the voluntary learning community, teachers constantly try to change their classes and schools. The changes of school need to be understood in the context of the interaction of teachers, students, and infrastructure.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• (The) Research of the performance art and culture
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• no.32
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• pp.171-208
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• 2016

Female folk song singers do not necessarily recognize the indigenous elements, which are, however, naturally reflected in the narration in the context. Singers of Taebaek Ararei recognize the dialect, the tone and the song when performing. Traditional Ararei had been performed by singers in the village of slash-and-burn field in Hwangji. Cheolam and Jangseong do not have their own traditional songs sing they are mining regions but had adopted songs from other areas including Gyeonggbuk, which still remain as alternative versions. Many elements of Jeongseon Arari and Samcheok Menari are in the narration and the songs. In terms of the context, alternative versions of Ararei are old Arirang melodies from slash-and-burn fields and were confirmed to be a very old form of oral folk songs in Gangwondo. Female singers of 3 generations, Hwaok Mun, Geumsu Kim and Hyojeong Kim, who keep the tradition and identity of Taebaek Ararei, show the integration of the past, present and future of Ararei. The Ararei Preservation Society continuously organizes singers' performances and maintains the tradition. The singer Hwaok Mun was born in Taecheon, Pyeongannamdo and moved to south at 5 and lived in Hajang, Samcheok and then moved to Jangseong and lived in Jaemungok. She is a mother of 6 children and has been a farmer for most of her life. She currently resides in Mungokdong and would sing Ararei at village feasts or events. She says she learned the song naturally because Ararei was sung very often in the past around Taebaek area. She is a typical native Arirang singer. The singer Geumsu Kim is a daughter of Hwaok Mun and leads the Taebaek Ararei Preservation Society to study, maintain and introduce the sound of Taebaek(Taebaek Arirang). She introduces Miner Arirang and Taebaek Ararei to the society members and the local residents. The singer Hyojeong Kim is a granddaughter of Hwaok Mun and follows the tradition of her grandmother and mother while adopting more modern Arirang contents.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Women's Studies Review
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• v.27 no.1
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• pp.3-36
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• 2010

This paper is based on the certain point that 'the indigenous', which have long been occupied by the Asian patriarchy or the local communities, now calls for the repositioning in the feminist context. 'The indigenous', in one part, generally refer to the matured long-standing traditions and practices of certain regional, or local communities, as a mode of a place specific way of endowing the world with integral meaning. In the narrow definition, it points to the particular form of placed based knowledge for survival, for example, the useful knowledge of a population who have lived experiences of the environment. In the other part, 'the indigenous' could be criticized in the gender perspectives because it has been served as an ideological tool for patriarchy and sexism, which have undermined women's body and subjectivity in the name of the Asian traditional community. That's why the feminists with sensitivity to the discourses of it, may perceive it very differently, still hesitating dealing with the problem. However, even if there are tendencies that the conservatives romanticize local traditions and essentialize 'the indigenous', as it were, it does not exist 'out there'. Then, it could be scrutinized in the contemporary context which, especially, needs to seek the possibility towards the alternatively post - develope mental knowledge system. In the face of global economic crisis which might be resulted from the instrumentalized or fragmented knowledge production system, it's holistic conceptions that human, society, and nature should not be isolated from each other. is able to give an insightful thinking. It will work in the restraint condition that we reconceptualize the indigenous knowledge not as an unchanging artefact of a timeless culture, but as a dynamic, living and culturally meaningful system towards the ecofeminstic indigenous knowledge. And then, indigenous renaissance phenomena which empower non-western culture and knowledge system and generate increased consciousness of cultural membership. Thus, this paper argues that the indigenous knowledges which have been underestimated in the western-centered knowledge-power relations, could be reconstructed as a potential resources of ecological civility transnationally which reconnect individuals and societies with nature.