• Journal of Microbiology and Biotechnology
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• v.30 no.7
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• pp.1097-1103
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• 2020

Bacterial surface display systems have been developed for various applications in biotechnology and industry. Particularly, the discovery and design of anchoring motifs is highly important for the successful display of a target protein or peptide on the surface of bacteria. In this study, an efficient display system on Escherichia coli was developed using novel anchoring motifs designed from the E. coli mipA gene. Using the C-terminal fusion system of an industrial enzyme, Pseudomonas fluorescens lipase, six possible fusion sites, V¹⁴⁰, V¹⁷⁶, K¹⁷⁹, V²²⁶, V²³², and K²³⁴, which were truncated from the C-terminal end of the mipA gene (MV¹⁴⁰, MV¹⁷⁶, MV¹⁷⁹, MV²²⁶, MV²³², and MV²³⁴) were examined. The whole-cell lipase activities showed that MV¹⁴⁰ was the best among the six anchoring motifs. Furthermore, the lipase activity obtained using MV¹⁴⁰ as the anchoring motif was approximately 20-fold higher than that of the previous anchoring motifs FadL and OprF but slightly higher than that of YiaTR232. Western blotting and confocal microscopy further confirmed the localization of the fusion lipase displayed on the E. coli surface using the truncated MV¹⁴⁰. Additionally the MV¹⁴⁰ motif could be used for successfully displaying another industrial enzyme, α-amylase from Bacillus subtilis. These results showed that the fusion proteins using the MV¹⁴⁰ motif had notably high enzyme activities and did not exert any adverse effects on either cell growth or outer membrane integrity. Thus, this study shows that MipA can be used as a novel anchoring motif for more efficient bacterial surface display in the biotechnological and industrial fields.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.117-138
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• 2010

This study tries to analyse the type of sasanian crowns by looking into the icons and meanings of various motifs that changed the archetype and shape of the crowns, and the social and political factors that affected those motifs. Based on such analysis, the study is aimed at completing the periodic typology of the sasanian crown. For this study the literature research is combined with the empirical analysis of information. Korymbos which symbolizes globe represented the authority and power of the sasanian kings, but the motif with such meaning was replaced by star motif in the late-sasanian crowns. The basic motifs embellishing the sasanian crown represent Gods, which is interpreted as an attempt to symbolize the relations between Gods and kings. These motifs are found on each king's crown in a different and individual way, which seems because the kings at the time chose the motif that can symbolize their own political intention or spirit. At the early days of the sasanian dynasty, Korymbos motif was highly emphasized on the crowns, and was used throughout the end of the dynasty and then was replaced by star motif. From the mid-4th century, Crescent motif started to be used, which was always shown as the shape supporting Korymbos and star motif on it. Bird wing motif was intermittently used in the early and middle days of the dynasty, and was highly emphasized in the crowns of all the kings in the end of the dynasty. Star motif started to be used in the end of sasanian dynasty.

• Journal of Fashion Business
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• v.15 no.3
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• pp.112-124
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• 2011

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian textile culture, created mostly by the Copt, has the originality of weaving technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen tapestry weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, embroidery, and knotting are detected in Coptic textiles.

• BMB Reports
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• v.52 no.12
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• pp.700-705
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• 2019

The bacterial effector protein RavZ is secreted by the intracellular pathogen Legionella pneumophila and inhibits host autophagy through an irreversible deconjugation of mammalian ATG8 (mATG8) proteins from autophagosome membranes. However, the roles of the LC3 interacting region (LIR) motifs in RavZ function remain unclear. In this study, we show that a membrane-targeting (MT) domain or the LIR motifs of RavZ play major or minor roles in RavZ function. A RavZ mutant that does not bind to mATG8 delipidated all forms of mATG8-phosphatidylethanolamine (PE) as efficiently as did wild-type RavZ. However, a RavZ mutant with a deletion of the MT domain selectively delipidated mATG8-PE less efficiently than did wild-type RavZ. Taken together, our results suggest that the effects of LIR motifs and the MT domain on RavZ activity are complementary and work through independent pathways.

• Journal of Fashion Business
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• v.22 no.1
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.

• Molecules and Cells
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• v.37 no.1
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• pp.81-87
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• 2014

Chronic pressure-overload cardiac hypertrophy is associated with an increased risk of morbidity/mortality, largely due to maladaptive remodeling and dilatation that progresses to dilated cardiomyopathy. Alternative splicing is an important biological mechanism that generates proteomic complexity and diversity. The recent development of next-generation RNA sequencing has improved our understanding of the qualitative signatures associated with alternative splicing in various biological conditions. However, the role of alternative splicing in cardiac hypertrophy is yet unknown. The present study employed RNA-Seq and a bioinformatic approach to detect the RNA splicing regulatory elements involved in alternative splicing during pressure-overload cardiac hypertrophy. We found GC-rich exonic motifs that regulate intron retention in 5' UTRs and AT-rich exonic motifs that are involved in exclusion of the AT-rich elements that cause mRNA instability in 3' UTRs. We also identified motifs in the intronic regions involved in exon exclusion and inclusion, which predicted splicing factors that bind to these motifs. We found, through Western blotting, that the expression levels of three splicing factors, ESRP1, PTB and SF2/ASF, were significantly altered during cardiac hypertrophy. Collectively, the present results suggest that chronic pressure-overload hypertrophy is closely associated with distinct alternative splicing due to altered expression of splicing factors.

• Journal of Fashion Business
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• v.23 no.4
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• pp.127-139
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• 2019

Up-cycling has evolved from its original form of the simple recycling of waste, into an industry of its own that has been gaining momentum. In many developed industries, up-cycling is increasingly seen as an 'environmentally-friendly way of production and ethical way of consumption'. However, an examination of the designs of branded up-cycled products suggests that there is a need for product development fueled by further research on materials. The purpose of this study is to introduce various production methods that can overcome the shortcomings of using waste material and Korean motifs for use in product development, which ultimately contribute to enhancing the potential variety and character of up-cycled products. In order to do so, the up-cycling industry was examined to define key concepts, domestic and overseas markets were surveyed, and case analyses were conducted on domestic and foreign up-cycling brands. In addition, after tracking how leather is discarded and accumulated as waste and then collecting the discarded leather, the properties of the material were analyzed. A study of Korean motifs was followed by the concept summary, and upcycling design expressions that exemplify Korean images were identified. The following two novel methods were used to create six up-cycled bags using collected discarded leather. First, lucky bags and moon pots were selected from various Korean motifs in order to use motifs with identifiable features. Secondly, different variations of cutting and attachment methods were used, including iron mold production methods and presses.

• Journal of Microbiology
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• v.45 no.2
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• pp.139-145
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• 2007

The Bombyx mori parvo-like virus (China isolate) DNA polymerase (BmDNV-3 dnapol) gene has been tentatively identified based on the presence of conserved motifs. In the present study, we perform a transcriptional analysis of the BmDNV-3 dnapol gene using the total RNA isolated from BmDNV-3 infected silkworm at different times. Northern blot analysis with a BmDNV-3 dnapol-specific riboprobe showed a major transcript of 3.3 kb. 5'-RACE revealed that the major transcription start point was located 20 nucleotides downstream of the TATA box. In a temporal expression analysis using differential RT-PCR, BmDNV-3 dnapol transcript was detected at low levels at 6 h.p.i., increased from 6 to 36 h.p.i., and remained fairly constant thereafter. Analysis of the predicted DNA polymerase sequence using neighborjoining and protein parsimony algorithms indicated that the predicted 1115-residue polypeptide contained five motifs associated with DNA polymerases synthetic activities and three additional motifs associated with polymerases possessing 3' to 5' exonuclease activity. The molecular phylogenetic analysis of this gene supported the placement of Bombyx mori parvo-like virus in a separate virus family.

• Journal of Fashion Business
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• v.4 no.3
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• pp.67-78
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• 2000

This is a study on the art style of amimal fight in Scytian ornaments which had been popular in Steppe region of Eurasia. Animals were considered to have magical power and to provide protection against evil or disaster and representations of them thus occupied an important place in life. This style reflected the mythology, the ethical and aesthetic ideals of the warrior-nomad. With a magnificent understanding of composition and the essential nature of the material, craftsmen fashioned utilitarian objects in animal form: weaponry, horse trappings, clothes, ornaments and jewellery and other everyday objects were all decorated with zoomorphic motifs. Without copying nature, they accurately conveyed the essence of every beast depicted. The highly stylized modelling uses bold accentuated planes, while distinctive features associated with particular species are emphasized and exaggerated. The purpose and meaning of the animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been intended to guarantee the power of the aggressor.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.866-886
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• 1995

The purpose of this study is to analyze the pattern and the meaning of textiles, and decorative techniques of ikat weaving and dyeing in Indonesia. The textile design also analyzes by examining the method of ikat techniques such as warp ikat, weft ikat and double ikat, and by classifying the style of regions. The most common motifs are geometric designs of spirals, meanders, straight lines, triangles, and circles which are influenced by outside world. Although these motifs or symbols have been evident since prehistoric times, their design and meaning have been continually reinterpreted as changes in the ceremonies and rituals. While motifs such as reptiles, birds, and human figures, depicted in spiral, hooked and rhomb configurations, have been identified among the most resilient features of Indonesian textile design, new meanings have been added to these ancient forms, and designs have been transformed and reinterpreted to suit local conceptions. Since textiles are a visual expression of Indcufsian life, textiles place the individual symbolically within social milieu, identifying rank, family, locality and religious affiliations. Textiles represent a link between the human and the spiritual realm, and a vehicle for the display of sacred and secular potency Ikat textiles play to embody special transforming powers and sacred mediating qualities, providing protection and evoking life-enriching forces for individuals or social group.