• 디지털융복합연구
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• 제16권3호
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• pp.87-94
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• 2018

본 연구는 사이버상의 놀이 공간으로서 청소년이 경험한 덕후 문화에 대한 본질적 의미를 탐색하기 위하여 수행되었다. 이를 위해 서울 잠실에 거주하고, 덕후에 해당되는 13~17세 청소년 18명을 대상으로, 반구조적인 질문형식을 사용한 심층면담을 통해 수집한 현상학적 질적 연구방법을 적용하여 분석하였다. 그 결과, 청소년의 덕후 문화는 스트레스나 사회정서적 욕구로 인해 시작되고, 특히, SNS활동을 중심으로 팬덤, 굿즈 상품 구매 행위의 사이버상에서 놀이 공간으로 활용되고 있었다. 이것은, 덕후로서의 자기 인식과 자아정체성 형성에도 긍정적인 영향을 미치는 것으로 나타났다. 무엇보다, 입시 중암감으로 인한 놀이시간의 부족과 사회적으로 제공되는 놀이공간의 부족은 청소년들에게 사이버 공간을 또 다른 놀이공간으로 만들도록 하고 있다.

• 한국의류산업학회지
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• 제1권1호
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• pp.74-81
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• 1999

The purpose of this study is to review the relationship between modern homosexuals' costume tendency in socio-cultural terms and the garment tendency reflected as high fashion and thereby, determine the homosexualism being established as a recent fashion trend. The homosexualism shown in the fashion were categorized into three aspects; a resistant tendency departing from the conventional controlling culture, a fetishism or perversion tendency satisfying in sexual inclination by emphasizing certain physical parts or using certain items, and play to express a sexual identity departing from the fixed social view. The homosexualism being suggested as new fashion trend in this society dominated by the post-modernism art must mean an integrated sense of sex just beyond a simple perversion to express the self-identity in a natural way. It is conceived that the homosexualism would be expanded towards a new horizon of costumes as long as the division of sexes becomes more obscure and the decentralized bipolarization for mutual co-existence between two sexes continues to be main stream of fashion.

• Journal of Information Processing Systems
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• 제19권3호
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• pp.310-322
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• 2023

Although the network environment is gradually improving, the virtual nature of the network is still the same fact, which has brought a great influence on the supervision of Weibo network public opinion dissemination. In order to reduce this influence, the user information of Weibo network public opinion dissemination is studied by using Python technology. Specifically, the 2019 "Ethiopian air crash" event was taken as the research subject, the relevant data were collected by using Python technology, and the data from March 10, 2019 to June 20, 2019 were constructed by using the implicit Dirichlet distribution topic model and the naive Bayes classifier. The Weibo network public opinion user identity graph model under the "Ethiopian air crash" on June 20 found that the public opinion users of ordinary netizens accounted for the highest proportion and were easily influenced by media public opinion users. This influence is not limited to ordinary netizens. Public opinion users have an influence on other types of public opinion users. That is to say, in the network public opinion space of the "Ethiopian air crash," media public opinion users play an important role in the dissemination of network public opinion information. This research can lay a foundation for the classification and identification of user identity information types under different public opinion life cycles. Future research can start from the supervision of public opinion and the type of user identity to improve the scientific management and control of user information dissemination through Weibo network public opinion.

• 식물분류학회지
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• 제37권4호
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• pp.323-333
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• 2007

The degree to which parallel evolution utilizes the same genetic mechanisms indicates the degree to which developmental processes constrain or channel phenotypic evolution. A transgenetic strategy was used to elucidate the role of one floral meristem identity gene, LEAFY (LFY), in the evolution of rosette flowering, a plant architecture that has evolved in parallel in several lineages of the mustard family, Brassicaceae. The LFY genes from three rosette flowering species were cloned and introduced into a species with the ancestral architecture, and results indicated that changes at the LFY locus contributed to the evolution of rosette flowering in two of the three lineages, but that in each lineage a different set of genetic partners was involved. Also, LFY was shown to play a role in the evolution of flower size. Transgenetic strategy may be useful in the study of plant morphological evolution and parallelism.

• 생명과학회지
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• 제6권1호
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• pp.1-5
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• 1996

Using differential hybridization, a cDNA clone was isolated fortuitously from Amaranthus viridis and sequenced. This nucleotide sequence exhibited 55.1% identity with vma6 which encodes the 36-kD subunit of the vacuolar proton transporting ATPase in Saccharmoyces cerevisiae. The predicted open reading frame encodes a protein of 221 amino acid sequence with a calculated molecular weight of 25,452 and reveals high levels of similarity with subunit D polypeptide of vacuolar H -ATP(e.g., 48.5, 52.1 and 49.3% identity to the vacuolar 36-kD chain of yeast, vacuolar 32-kD polypeptide IV of human and vacuolar 28-kD protein of bovine chromaffin granules, respectively). The hydropathy index computation revealed that this predicted protein is a peripheral protein. These results indicated that the predicted protein may play a sturctural role in the vaculor H -ATPase as does gamma subunit in V-type ATPase.

• International Journal of Industrial Entomology and Biomaterials
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• 제3권2호
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• pp.163-168
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• 2001

We isolated and sequenced a cDNA clone corresponding to apolipophorin-III (apoLp-III) from the fall webworm, Hyphantria cunea. The cDNA for apoLp-III codes fer a 187-residue protein (561 bp) with a predicted molecular mass of 20 kDa. The calculated isoelectric point is 8.76. Multiple alignment analysis of the amino acid sequence revealed that H. cunea apoLp-III is most similar to that of Spodoptera litura (71.5% identity), followed by that of Manduca sexta (69.7% identity). They share five amphipathic $\alpha$-helices that are proposed to play a critical role in the binding of apoLp-III to lipophorin.

• 영어영문학
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• 제58권2호
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• pp.249-277
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• 2012

Eugene O'Neill's one-act play Before Breakfast (1916) depicts a morning scene of a married couple who live in a slovenly flat at Greenwich Village. There is no apparent dramatic action occurring in the play. Instead, the play is full of Mrs. Rowland's incessant complaints about her husband Alfred's loafing around bars with artists friends, neglecting his role as breadwinner. An irony is that every morning she prepares breakfast for the good-for-nothing husband even in the moment of complaining. It is worth noting that Alfred is an 'unseen character' who is never directly observed by the audience but is only described by her wife. Deprived of all chances to speak and present himself on stage, he is kept in the room throughout the play. In contrast, Mrs. Rowland dominates the stage, monopolizing language and action. The audience has to listen to her, judge from her statements, and take her one-sided complaints. The accused husband, with zero chance of showing up and defending himself, has no choice but to be the sinner as the wife intends. Another irony is that the audience's feeling about the situation is quite different from what is expected. The wife's complaints are regarded to be unfair and groundless in the reason that the situation is monopolized by her. In case of the husband, in contrast, the loss of voice and presence stresses the injustice of his dead-lock situation. In other words, the 'absent' quality of Alfred works to evoke the audience's sympathy for himself and subsequently makes his presence recognized, not visually but emotionally, by the audience throughout the play. Discovered in this paradoxical moment where the spectators understand or 'see' the status of the unseen and the devoiced message is successfully conveyed to the listeners, is the theatricality of absence. Adding to the function as theatrical device, the 'unseen character' Alfred works as a device of self-reflection to mirror the author's own life. Alfred, the alter-ego of O'Neill, effectively exorcises the author's life-long feeling of guilty as the unfaithful husband and father in the unhappy first marriage, successfully evoking the audience's sympathy for himself.

• 한국의류산업학회지
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• 제17권4호
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• pp.541-549
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• 2015

Korean traditional mask play was done at outdoor to let spectators join the play and take mask at performance and to have disadvantage of poor transfer of dialog to the spectators. Performers transferred dialog directly and/or indirectly by using visual costume, and Tongyeong Ogwangdae with many dialogue expressions concerning the costume made use of proper intention to help spectators understand. In this study, the author watched performance of Tongyeong Ogwangdae to collect and investigate not only image material but also photograph material and to classify intention of the costume into three: First, contents of the dialog were intended to make shape. The costumes of Hongbaek Yangban, Meoktal Yangban and Jorijung of the 2nd section gave spectators contents of the play, and the costume of Halmi Yangban of Nochangtal of the 4th section described dialog of Halmi. Second, dialog had connotative metaphor. The costume of Yeongno of Yeongnotal of the 3rd section symbolized an unfinished dragon, while that of Halmi of Nongchangtal of the 4th section did sacred of Halmi. And, Nongchagtal Ai's costume of the 4th section prayed for value of Ai, richness of the life and fecundity. Third, conflict between characters was intended by indirect media. The costume of Maltukee of metaphor mask of the 2nd section became base of the assertion supporting that Maltukee had better birth history than Yangban had, and the costume of Yeongnoyangban of Yeongnotal of the 3rd section produced conflict at disclosure of identity.

• 복식
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• 제60권1호
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of Contemporary Eastern Asia
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• 제14권1호
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• pp.57-69
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• 2015

This paper explores some of the ways in which social games - games played with others through social network sites such as Facebook - are situated within the everyday. It argues that social games are more than just games; they perform a range of interactive and integrative functions across and within people's lives and therefore need to be investigated as such. Social games en-able spaces for and practices of creative expression, and identity management. They also form a mechanism through which relations can be enacted and maintained across and outside of the game environment. This argument requires the researcher to consider the panoply of ways in which people integrate social games within their lives and everyday practices. Part of a larger project, this paper explores some findings from an exploratory survey of Australian game play-ers about their management and integration of game play within the everyday with a particular focus on gender.