• Journal of Life Science
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• v.28 no.12
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• pp.1416-1423
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• 2018

With strong biotin binding affinity ($K_D=10^{-14}M$), the tetrameric feature of streptavidin could be used to increase the antigen binding activity of a camel heavy chain (VHH) antibody through their fusion, here stained with biotinylated horseradish peroxidase and subsequent immunoassays ELISA and Western blot analysis. For this application, we cloned the streptavidin gene amplified from the Streptomyces avidinii chromosome by PCR, and this was fused to the gene of the 8B9 VHH antibody which is specific to green fluorescent protein (GFP) antigens. To express a soluble fusion protein in Escherichia coli, we used the pUC119 plasmid-based expression system which uses the lacZ promoter for induction by IPTG, the pelB leader sequence at the N-terminus for secretion into the periplasmic space, and six polyhistidine tags at the C-terminus for purification of the expressed proteins using an $Ni^+$-NTA-agarose column. Although streptavidin is toxic to E. coli because of its strong biotin binding property, this soluble fusion protein was expressed successfully. In SDS-PAGE, the size of the purified fusion protein was 122.4 kDa in its native condition and 30.6 kDa once denatured by boiling, suggesting the tetramerization of the monomeric subunit by non-covalent association through the streptavidin moiety fusing to the 8B9 VHH antibody. In addition, this fusion protein showed biotin binding activity similar to streptavidin as well as GFP antigen binding activity through both ELISA and Western blot analysis. In conclusion, the protein resulting from the fusion of an 8B9 VHH antibody with streptavidin was successfully expressed and purified as a soluble tetramer in E. coli; it showed both biotin and GFP antigen binding activity suggesting the possible production of a tetrameric and bifunctional VHH antibody.

• (The) Research of the performance art and culture
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• no.36
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• pp.223-253
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• 2018

The purpose of this study is to examine how the Korean classic novel "Shimcheong-jeon" has transformed in juvenile literature since the 2000s. Classical novels are far from modern and temporal, differ from modern cultures. Classic novels are also different from the lives and thoughts of modern children. It is therefore difficult for modern child readers to easily understand or agree with classical novels. In order for classical novels to have the meaning in the present, it is necessary to pay attention to the encounter between classical novels and children's literature. In the case of "Shimcheong-jeon", unlike other classical novels, there are many creative fairy tales. There are seven kinds of fairy tales that transformed "Shimcheong-jeon". They are diverse in genres such as picture books, fairy tales, and juvenile fiction, and are intended for a variety of ages. These works are described in various perspectives such as, Shimcheong who is full of desire, Shim Hakgyu who is disabled, Ppaengdeog's mother who has maternity and subjectivity, The dragon of the dragon king and Byeogdeog who loves Shimcheong, and Shin Cheong who has a dream. The themes of the works vary. So, These works extend our expectations for classical literature. Fairy tales that transformed "Shimcheong-jeon" reflect the lives of children and youths, this is important because it can reduce the distance between classical novels and children and youth readers. Classical novels are modernized and give new meaning to modern children and youths. And it reflects the characteristics of the novels of Pansori's "Shimcheong-jeon", preserving the value of classics. Tears of Paengdeok is a story that explains the origin of Pansori "Shimcheong-ga", and inserts some lyrics of Pansori, in the case of Cheong, Cheong, Pansori style is used. Although humor is the greatest feature of pansori, there are few of Fairy tales that transformed "Shimcheong-jeon". It is a direction to worry and to orient when transforming "Shimcheong-jeon" into a fairy tale.

• (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 Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.32 no.1
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• pp.16-31
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• 2019

Objective : The purpose of this study is to analyze the charcateristics of inpatients in Ophthalmology, Otolaryngology & Dermatology Clinic by gender, age, season, and department of medical care after hospitalization from March, 2012 to February, 2018. Method : From March 1, 2012 to February 28, 2018, patients who were admitted to the Ophthalmology, Otolaryngology & Dermatology Clinic of Korean Medical Hospital were classified by gender, age, department, and season, and their relationship, hospitalization period, number of outpatient visits Differences were analyzed objectively using various statistical methods using IBM SPSS 18.0. Results : 1. The number of inpatients was 432, including duplication. Of these, 317 were female and 115 were male. The number of female patients was 2.8 times higher. 2. The average age of the inpatients was 43.9 years and the number of middle-aged 40-50 patients was 48.6%. 3. The number of inpatients in the departments was in the order of dermatology, otology, laryngology, rhinology, and ophthalmology. The most hospitalized diseases were eczema in the dermatology department, sudden hearing loss in the otology department, tonsillitis/peritonsillar abscess, rhinitis in the rhinology department, and dry eye syndrome in ophthalmology. 1) The effect of gender on the difference in the number of inpatients by subdivision was statistically significant. 2) The effect of age on the difference in the number of inpatients by subdivision was statistically significant. 3) The effect of seasons on the difference in the number of inpatients was not statistically significant. 4. The number of inpatients by season was in the order of winter, spring, summer, autumn, and the number of inpatients decreased significantly in autumn. 1) The effect of gender on the difference in the number of hospitalized patients by season was not statistically significant. 2) The effect of age on the difference in the number of hospitalized patients by season was not statistically significant. 5. The average length of hospital stay for inpatients was 10.7 days. 1) The effect of gender on length of hospital stay was not statistically significant. 2) The effect of age on hospital stay was not statistically significant. 3) The effect of the subdivision on hospital stay was statistically significant. 4) The effect of the season on hospital stay was not statistically significant. Conclusion : As a result of this study, the most distinctive feature of the present study was the high rate of inpatients with otic disease like idiopathic hearing loss and Meniere 's syndrome and the high rate of female patients. This may be related to the increased prevalence of the disease and the severity of the disease. In addition, the high rate of female patients suggests that women are more likely to be affected by illnesses, as well as to have more medical use and severe symptoms requiring hospitalization. In the future, it would be better to provide various treatment plans and policies for patients with otic diseases and female patients. Also it would be good if studies on these fields are made in the future.

• The Korean Journal of Archival Studies
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• no.23
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• pp.87-139
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• 2010

Unlike in the past, a new paradigm has been presented which the use of records is much more important than the preservation of those in the present. It will be necessary for users to signalizes the value of records and to make themselves easily accessible to records in order that records should be more effectively used. To meet the needs of the times, it is the very 'Contents' that starts to attract public attention. National Archives in England produces and provides contents utilizing multi-media by using digital technology on various sorts of archives which England has. In addition to England, Asian Historical Records center in Japan in Japan makes Archival Contents Service reflecting users' needs and continues to update the latest contents. What is more, National Archives of Korea has recently promoted the introduction of digital archive by the change of archival paradigm in records management, and it is giving an impetus to the development of contents in the digital archive. In fact, it is crucial to keep as many contents as possible and to give service to public, but it will not be possible to get positive response from public and to offer much higher level of archival information service until the quality of contents is highly improved. Accordingly, this manuscript analyzed the feature and type of contents which National Archives of Korea provides with cases of both TNA in England and Asian Historical Records center in Japan, each of which has different characteristics. Also, it dealt with several methods of the usage of contents in those organizations. Furthermore, this study explained what kind of contents and feedback are given to users. Moreover, it divided the components of contents of three institutions as mentioned into three by information provided and evaluated the quality of contents by establishing the details of contents. In addition, there were implications for archives with regard to reference for building contents.

• Korean Journal of Heritage: History & Science
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• v.44 no.2
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• pp.76-95
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• 2011

After dismantled, Mireuksajiseoktap(Stone pagoda of Mireuksa Templesite) is being in the stage of restoration design. Now, different ways - producing restoration model, a 3 dimension simulation - have been requested to make more detailed and clearer restoration design prior to confirmation of its restoration design and actual restoration carry-out. This thesis proposes the way to build the detailed model for better restoration plan using extensively-used Reverse Engineering technique and Rapid Prototyping. It also introduces each stage such as a 3-dimension actual measurement, building database, a 3-dimension simulation etc., to build a desirable model. On the top of that, this thesis reveals that after dismantled, MIruksaji stone pagoda's interior and exterior were not constructed into pieces but wholeness, so that its looks can be grasped in more virtually and clearly. Secondly, this thesis makes a 3-dimension study on the 2-dimension design possible by acquiring basic materials about a 3-dimension design. Thirdly, the individual feature of each member like the change of member location can be comprehended, considering comparing analysis and joint condition of member. Lastly, in the structural perspective this thesis can be used as reference materials for structure reinforcement design by grasping destructed aspects of stone pagoda and weak points of the structure. In dismantlement-repair and restoration work of cultural properties that require delicate attention and exactness, there may be evitable errors on time and space in building reinforcement and restoration design based on a 2-dimension plan. Especially, the more complicate and bigger the subject is, the more difficult an analysis about the status quo and its delicate design are. A series of pre-review, based on the 3-dimension data according to actual measurement, can be one of the effective way to minimize the possibility that errors about time - space happen by building more delicate plan and resolving difficulties.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• The Journal of the Petrological Society of Korea
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• v.28 no.3
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• pp.171-193
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• 2019

This study aims to identify the geometry and internal structures of the Yeongdeok Fault, a branch fault of the Yangsan Fault, by detailed mapping and to characterize its kinematics by analyzing the attitudes of sedimentary rocks adjacent to the fault, slip data on the fault surfaces, and anisotropy of magnetic susceptibility (AMS) of the fault gouges. The Yeongdeok Fault, which shows a total extension of 40 km on the digital elevation map, cuts the Triassic Yeongdeok Granite and the Cretaceous sedimentary and volcanic rocks with about 8.1 km of dextral strike-slip offset. The NNW- or N-S-striking Yeongdeok Fault runs as a single fault north of Hwacheon-ri, Yeongdeok-eup, but south of Hwacheon-ri it branches into two faults. The western one of these two faults shows a zigzag-shaped extension consisting of a series of NNE- to NE- and NNW-striking segments, while the eastern one is extended south-southeastward and then merged with the Yangsan Fault in Gangu-myeon, Yeongdeok-gun. The Yeongdeok Fault dips eastward with an angle of > $65^{\circ}$ at most outcrops and shows its fault cores and damage zones of 2~15 m and of up to 180 m wide, respectively. The fault cores derived from several different wall rocks, such as granites and sedimentary and volcanic rocks, show different deformation patterns. The fault cores derived from granites consist mainly of fault breccias with gouge zones less than 10 cm thick, in which shear deformation is concentrated. While the fault cores derived from sedimentary rocks consist of gouges and breccia zones, which anastomose and link up each other with greater widths than those derived from granites. The attitudes of sedimentary rocks adjacent to the fault become tilted at a high angle similar to that of the fault. The fault slip data and AMS of the fault gouges indicate two main events of the Yeongdeok Fault, (1) sinistral strike-slip under NW-SE compression and then (2) dextral strike-slip under NE-SW compression, and shows the overwhelming deformation feature recorded by the later dextral strike-slip. Comparing the deformation history and features of the Yeongdeok Fault in the study area with those of the Yangsan Fault of previous studies, it is interpreted that the two faults experienced the same sinistral and dextral strike-slip movements under the late Cretaceous NW-SE compression and the Paleogene NE-SW compression, respectively, despite the slight difference in strike of the two faults.