• Proceedings of the Botanical Society of Korea Conference
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• 1999.07a
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• pp.21-35
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• 1999

We have previously isolated OsMADS4 gene that is a member of the class B MADS box genes from rice. In this study, another member of the class B MADS box genes was isolated from rice flower by the yeast two-hybrid screening method using OsMADS4 as bait. RNA blot analyses revealed that the clone, OsMADS16, was expressed in the second and third whorls, whereas the OsMADS4 transcripts were present in the second, third, and fourth whorls. These expression patterns of the OsMADS16 and OsMADS4 genes are very similar with those of AP3 and PI, the class B genes of Arabidopsis, respectively. In the yeast two-hybrid system, OsMADS4 interacted only with OsMADS16 among several rice MADS genes investigated, suggesting that OsMADS4 and OsMADS16 function as a heterodimer in specifying sepal and petal identities. We have also isolated OsMADS6 gene using OsMADS1 as a probe. Both are members of the AGL2 MADS family. Various MADS genes that encode for protein-protein interaction partners of the OsMADS6 protein were isolated by the yeast two-hybrid screening method. A majority of these genes belong to the AGL2 family. Sequence Homology, expression pattern, and ectopic expression phenotypes indicated that one of the interaction partners, OsMADS14, appears to be homologous to API, the class A MADS gene of Arabidopsis.

• Archives of design research
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• v.19 no.3 s.65
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• pp.71-92
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• 2006

People have their own cultural backgrounds and experiences in terms of visual perceptional thinking so that they could misunderstand the cultural symbols, trademarks, Brand Identities, and trade characters, especially, animal trademarks. Sometimes Easterners and Westerners seem to not comprehend the different meanings of the cultural symbols. The signs of twelve Chinese zodiac animals are the typical symbol of the Asian mythology. What I wanted to focus on emphasizing the different views and perspective of an animal trademark is according to the Chinese Zodiac between Eastern and Western cultures. Generally, multiple symbolisms are difficult to comprehend, because they are created by individual ideas and incorporate several mythologies and histories. How do Westerners interpret the implied meaning of Eastern animals in general? How are they going to understand the Eastern animal logos or marks accurately? How can we solve the problem to make people understand their different meanings? There were some confusing pictorial images in the area of the design field when a designer creates an animal mark for globalization and localization. Creating of hybrid symbol is the best way to break the communication barriers with people all around the world.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.147-165
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• 2022

The purpose of this study is to examine various types and characteristics of masks and to consider what meanings they have in the recent fashion world. To this end, this study attempts to reflect on the internal meaning of masks exhibited in fashion designers' collections rather than functional meanings. It has an implication; in that it tries to help understand the expressive needs for variety and freshness pursued by modern fashion and use the unique design development to understand the internal meanings of masks. It, therefore, examines the existing domestic and foreign literature and data about masks from a theoretical perspective, and also attempts to draw findings from the data of fashion collections which have been held since the 2000s, as well as from literature research based on books about fashion and various other media. The meanings of masks in the field of fashion are as follows: First, they express identity, by criticizing the couture fashion, through the fashion. Second, they present a new concept of body, showing an illogical and ambiguous identity in which both feminine and masculine images coexist. Third, they are media externally communicating insights about human beings' inner world, through which various messages are transferred to modern people who are attached to external appearances, and the identities possessed by designers are revealed by the masks. Fourth, they ask about a boundary between gender and sexuality, as a means to make us concentrate on the important social issue, while expressing various and new identities, like the hybrid identity. In other words, they can be found to be used as effective media in communicating fashion massages intended by fashion experimental and creative designers.

• Korean journal of communication and information
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• v.70
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• pp.66-94
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• 2015

Postcolonialism, as a school of thought, has become enormously influential for understanding the recent phenomena of globalization. While rejecting the universalizing categories of the Enlightenment, postcolonialism has called into question the old idea of culture and identity as a transcendent regime of authenticity and purity. It has also celebrated the diasporic experiences that entail porous and hybrid cultural identities as a potential site of struggle and resistance against the dominant cultural and discursive order. It is argued, however, that postcolonial theory's emancipatory claims relating to the diversified global culture tend to be complicit with transnational capitalism that brings about global issues of material as well as cultural injustice. This article, through a thorough review of the ways the postcolonial theoretical framework has been developed and appropriated by main figures in postcolonial scholarship, seeks for a theoretical and critical strategy to grasp the complex conditions of global inequality.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.101-110
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• 2008

We believe distinguishable product development to be competitive against foreign products, and realize the need to expand domestic business worldwide. In order to be competitive, we should produce fashion items that meets global taste, and at the same time contain exclusive Korean culture and emotional beauty. This article examines and creates unique textile design with the touch of Korean art. Desigus have been proceeded under the following three themes: 'Strong Ego,' 'Gorgeous Days' and 'Song Eternal Seeking Love' using Primavision Computer-aided Design ("CAD"). We have put our interestes in Korean traditional paintings called Hangukhwa. Suitable design motives had been selected and modified from the four gracious plants (bamboos, peonies etc.), and paintings of birds and flowers. Primavision, a CAD software, had been used to manipulate those desigus, and to add instant changes in color, scale, and layout. We had modified Korean traditional motives to make modem image, and had arranged layouts which can be suitable for half-drop repeat and square repeat. The use of color is essential in pattern design. Thus, we explored coloring ways for each design to meet the trends, and the final mapping had been conducted in western style of dresses. We have tried to mix Korean image of textile designs with Western clothing style, expressing hybrid in the mapping process. With global movements, we need to develop products with Korean traditional exotic taste to attract foreign consumers. Therefore, we selected symbolic motives from Korean paintings to express deep spiritual significance. We developed textile design and processed mapping on selected western designer's dress, employing current trend colors and making crossover coordination. We realized Korean painting would be an excellent source for exclusive fabric design, and tried to create a modernized design which maintains Korean ethnical identities.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.110-123
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• 2008

The objectives of this study are to define the fundamental notions of collaboration in design field. The results of this study are summarized as follows: Firstly, collaboration means a cooperative work which are cooperatively done by collabarator and collaboratee on the equal status within a certain period of time, based on core ability of each of them. This cooperative work is presented with a visual image based on the identity of participants, and it creates an added value. Collaboration is different from convergence and hybrid in the methodological aspects and from brand alliance and strategic alliance in the aspects of the subject of project. Secondly, collaboration has been developing through step of using the specific ability, step of sharing each core abilities, and step of fusing their identities, in a view of the sphere of cooperative work and the intimate relations in reciprocity. Thirdly, according to strategic purpose, collaboration can be classified into value ascending collaboration, image changing collaboration, business-field extension collaboration, and event collaboration. Fourthly, production methods of collaboration consist of limited edition method, premium line method, common line method, producing a collaborative product, and so on. Fifthly, differentiation effect, image upgrade effect, production of higher value-added products, sale increase, diversification of business, sharing the targets, and promotion effect are achievable through collaboration. Sixthly, to make progress in collaboration successfully, the compatibility of combination between collaborator and collaboratee, the superiority of collaboratee, definitude of collaboration, the fit method of collaboration, the novelty of collatoration, possibility of issuing of collaboration, and perfection of collabo-product must be the points which deserve our attention.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.38-50
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• 2013

This paper analyzes director Yang Yong-hi's documentary films "Dear Pyongyang"(2006), "Goodbye, Pyongyang"(2009) and her fiction film "Our Homeland"(2012). These films were produced on the base of the director's autobiographical experience, and raise issue of Jainichi-Korean diaspora who be caught in nation-state; North Korea, South Korea and Japan. With the family narratives crossing Jeju, Osaka, and Pyongyang, these films doubt boundaries be set by nation-state, and seek new breakout space. This paper traces restructuring identity in the tensional heterogeneity of nation-state exaction; Integration, unity, uniform education. In conclusion, these films foresee Korean diaspora's future identity from hybrid identities. It shows Korean diaspora's potential of receptivity, openness and solidarity which are required for Northeast Asian peace and the solution of two Korea's hostility.

• Cross-Cultural Studies
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• v.48
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• pp.253-287
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• 2017

The purpose of this study is to examine the ethnic phenomenon in the multi-layered context, based upon data collected from my fieldwork in Asella Town, Ethiopia. The town has experienced few ethnic conflicts at the collective level because of ecological conditions, the numerical balance between the two major ethnic groups-i.e., the Oromo and the Amhara-, frequent ethnic intermarriages as well as effects of a unique sociocultural practice of 'breast-feeding.' However, despite positive influences of such a practice, the local community has continuously witnessed discrimination and threats by the dominant ethnic group. Most of my informants feel that ethnic intermarriage contributes to: (i) enforcement of bonds among both ethic groups and community members, (ii) acquisition of different ethnic cultures, (iii) cultivation of the spirit of tolerance among people, and (iv) production of the superior second generation that has hybrid/multiple ethnic identities. However, some informants harbor negative attitudes towards ethnic intermarriage because they perceive it as a selfish choice of two parties and damages ethnic identity. Most informants consider ongoing Oromonization as natural, whereas others insist that it should be understood in the context of coercion, superficiality and survival strategy.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• Korean Journal of Plant Taxonomy
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• v.45 no.3
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• pp.243-253
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• 2015

Series Chinensis, Genus Iris, endemic to the far regions of East Asia, consists of four species and related varieties. This series is divided into two major groups (I. rossii and I. minutiaurea complex). In this study, the ITS region and matK gene sequences within nuclear ribosomal DNA and plastid DNA were analyzed in order to investigate the phylogenetic relationships among the I. minutiaurea complex (I. minutiaurea, I. odaesanensis, and I. koreana) and the taxonomic identities of a putative hybrid in Mt. Palgong. In the internal transcribed spacer (ITS1, 5.8S, and ITS2) region, a total of 106 cloned genomic sequences from three taxa were obtained to study the intragenomic polymorphisms of the ITS regions. Three taxa revealed high levels of intragenomic polymorphisms, indicative of incomplete nrDNA concerted evolution. This incomplete ITS concerted evolution in the series Chinensis may be linked to the recent species divergence and frequent interspecies hybridization of the series Chinensis. In the matK gene, three taxa were fairly separated by eleven variable sites. In eight individuals collected on Mt. Palgong, putative hybrids between I. odaesanensis and I. minutiaurea were clustered in the I. minutiaurea clade in the NJ (neighbor-joining) tree based on the matK gene. However, in the ITS tree, some of them were clustered in the I. odaesanensis clade and others were clustered in the I. minutiaurea clade. Therefore, the individuals on Mt. Palgong were formed by the hybridization between two taxa (I. odaesanensis and I. minutiaurea) and not through the lineage of I. koreana.