• Cross-Cultural Studies
• /
• v.24
• /
• pp.32-45
• /
• 2011

This paper addresses some issues on the Northern Nigerian traditional garments and caps. We observed that most of the Northern Nigerian garments and caps, particularly those of the Kanuri people, have their origin in the culture and traditions of the people. In very significant ways, the garments and the caps depict the belief systems, political metaphysics, and the general consciousness of the people including their creative impulses. But as more and more people move from rural areas to the cities, travel abroad and as more and more cultures intermingle, inevitable changes catch up with the culture and tradition of the people. We observed that it is hard to find in the Northern Nigeria scene, particularly among the Kanuri people, clothes that have assumed new nomenclature other than garments and caps. We realized that, the culture and tradition of the Kanuri people wearing longer, voluminous and roomy garments preferably with cap have witnessed changes due to the blend with foreign culture. This and many other issues are discussed in this paper. The purpose of this research is to show that inspite of the Kanuri people's strong adherence to their beliefs and culture which hardly encourage any changes, the use of their traditional garments and caps have exhibited the flexibility of their beliefs, culture and traditions. The use of the garments and caps discussed in this paper are those observed among the Kanuri people of Northern Nigeria.

• Journal of the Korean Society of Costume
• /
• v.24
• /
• pp.15-28
• /
• 1995

This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uighur in Uighur self-governing district located in Shin Kang. East Turkestan, in Centrals Asia. This study aims to identifty the way of intergration of Uighur's costume and ornaments into Shilla, and orgins of Shill's costume and ornaments which had amix of internationl elelemnts thoursh cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be udner a severe Chinese influence, by highlingting its uniqueness and originality . The result of the study demonstrates and originality of SHilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in t도 form of simplification, and added naturalistic abstratness which is an element of Norther culture. The costume and ornaments are divided into coronets men's costuem, women's costume, and accessories 1. Coroncts A horse-riding man, and the costume type of 유고제 착유지체형 tell the Northern culture's influence on 백화수피기마인물채화담립 and patterns of a lotus flowr and arabesque show the 백화수피기마인물채색답립 has an influence of Buddhism with cluture of bordering countries of Western China , The origin of 뱍회수피제안형건(원정형, 방정형) lies in Northern cultures which can be found in ancient tombs of the Huns in noin-Ila , and stone caves of Jizil in Kochang. The wall paintings in Alexandropol, Murutuk and 돈황 No. 409 cave show that 초화형입식계금관 is under the influence of Northern culture, and Bezerkrick No, 25 cave and 회 번 in Kocho also show 수목녹각형입식관 is under the influence of Northern culture, with its origin in Novecherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Nothern, Chinese, and Western cultures. 2. Men's Costume 반령포 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 연주문 in Uighur prince's costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatelly expressed at Shilla's arts in the form of simplicity , and naturalistic abstract paintings as in shown at 입수쌍조문 in tiles and brick. Along with this , 고착지체형 costume originates from Eurasia's Northern horseriding costumes as was shown in a golden man in B.C.4-5C which is now possessed by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, an the origin is carried away into wall paintings of Kizil No.14. cave in 8c and Astana's early period ancient tomb. No.6. 3. Women's Costume The hair styles of Shilla people are either 변발 or up -style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur's wall paintings of royal princess's hair style. Astana's middle period No. 206 and No.230 tombs reveal the its origin of 고착장군 while Astana early period No. 6 tomb shows that of 광유풍만형. 4. Accessories The earrings with small golden beads is seen at earring of figure holding a sword in wall painting of figure holding a sword in wall painting of Kizil in about 5 C. and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skiti Critia peninsula. Shilla's costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding peoplewith excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time , Shilla has a wealth and power since it was rich in gold and iron , thus producing lots of materials made of them. The results of this study emphasizes Shilla's identity and self-control by creating an independent an innovative heterogeneous culture since Shill's active exchanges with East Asia allowed it to accept the most civilized Uighur culture in East Turkestan among Altai languate which had frequent cross contacts with India and Europe.

• The Korean Journal of Mycology
• /
• v.27 no.3 s.90
• /
• pp.187-190
• /
• 1999

A cDNA library was constructed using mRNA from the cells of 7-day-old cultures of Flammulina velutipes after induction of fruiting treatment. A cDNA clone, FVFD16 (Flammulina velutipes fruiting body differentiation), was selected by differential screening. The expression property of the FVFD16 gene was examined by Northern blot analysis. FVFD16 represents mRNA that is specifically expressed during differentiation of fruit bodies. The conspicuous accumulation of the FVFD16 mRNA was detected in 4-day-old and 1-day-old cultures. The nucleotide sequence of the FVFD16 gene was determined and the mRNA contained an open reading frame that encoded a putative protein of 128 amino acid residues (13.5 kDa).

• Journal of Plant Biotechnology
• /
• v.30 no.1
• /
• pp.97-102
• /
• 2003

Lettuce (Lactuca sativa) was transformed with Agrobacterium tumefacience LBA4404 containing human granulocyte macrophage colony stimulating factor (hGM-CSF) gene to produce in cell suspension cultures. Cell suspension culture was established using callus from transgenic lettuce plant. Integration of hGM-CSF gene into plant chromosome was confirmed through genomic PCR and Southern blot analysis. In addition, Northern blot analysis indicated the expression of the introduced hGM-CSF gene in transformed lettuce. The recombinant hGM-CSF was expressed in transgenic cell cultures derived from transgenic plants as a yield of about 149.0 $\mu\textrm{g}$/L in culture filtrate, which was determined by ELISA. These results demonstrated that transformed lettuce cell suspension cultures could be used as a production system of therapeutic proteins such as hGM-CSF.

• Journal of Microbiology
• /
• v.38 no.4
• /
• pp.230-238
• /
• 2000

Class III chitin synthases in filamentous fungi are important for hyphal growth and differentiation of several filamentous fungi. A genomic clone containing the full gene encoding Chs4, a class III chitin synthase in Penicillium chrysogenum, was cloned by PCR screening and colony hybridization from the genomic library. Nucleotide sequence analysis and transcript mapping of chs4 revealed an open reading frame (ORF) that consisted of 5 exons and 4 introns and encoded a putative protein of 915 amino acids. Nucleotide sequence analysis of the 5'flanking region of the ORF revealed a potential TATA box and several binding sites for transcription activators. The putative transcription initiation site at -716 position was identified by primer extension and the expression of the chs4 during the vegetative growth was confirmed by Northern blot analysis. Amino acid sequence analysis of the Chs4 revealed at least 5 transmembrane helices and several sites for past-transnational modifications. Comparison of the amino acid sequence of Chs4 with those of other fungi showed a close relationship between P chrysogenum and genus Aspergillus.

• Korean Journal of Plant Tissue Culture
• /
• v.28 no.1
• /
• pp.53-58
• /
• 2001

To develop herbicide-resistant cucumber plants (Cucumis sativus L. cv Green Angle) embryogenic suspension cultures were co-cultured with Agrobacterium tumefaciens strain LBA4404 carrying a disarmed binary vector pGA-bar. The T-DNA region of this binary vector contains the nopalin synthase/neomycin phosphotransferase Ⅱ (npt Ⅱ) chimeric gene for kanamycin resistance and the cauliflower 35S/phosphinothricin acetyltransferase (bar) chimeric gene for phosphinothricin (PPT) resistance, After co-cultivation for 48 h, embryogenic calli were placed on maturation media containing 20 mg/L PPT. Approximately 200 putatively transgenic plantlets were obtained in hormone free media containing 40 mg/L PPT. Northern blot hybridization analysis confirmed the expression of the bar gene that was integrated into the genome of five transgenic plants. Transgenic cucumber plants were grown to maturity. Mature plants in soil showed tolerance to the commercial herbicide (Basta) of PPT at the manufacturer's suggested level (3 mL/L).

• Journal of the Korean Society of Costume
• /
• v.51 no.4
• /
• pp.113-128
• /
• 2001

The objective of this study is to research the costume of Three Han to be recorded in -$\ulcorner$Samkukgy$\urcorner$ Tongyjeon. They were written tattoos, broad head, physique, hair style, dress. accessories-lnsu, beads, head dress, shoes and cloths in Tongy-jeon. The results of this study are as fellows: Tattoos were common in Three Han. Those may be carved by chinese ink on body except a face. Broad head was Byonhan and Jinhan s customs. The physique of Mahan and Byonhan s men was tall and big. The hair style was just topknot not to put on a hat in Mahan, long hair In Byonhan and short hair for slaves in Jinhan. And then tattoos, flat head and skull, long hair style were the southern style. The dresses were two piece style-po and trousers. The shoes were made of leather. Those were the northern style. Eui-Chek, In-Su were royal gift of china. And they put valuable on beads, not gold, silver and golden embroidery cloths. This was different from other countries, And so we can find the variety of cultures at that time. The varieties came from the southern, northern, china and unique style.

• Journal of the Korean Society of Costume
• /
• v.53 no.4
• /
• pp.17-29
• /
• 2003

Long Sleeve Costume is often seen not only in ancient China but also in various neighboring places throughout the time. Costumes show the societies cultural preferences and values at that time, and Long Sleeve Costume is no exception. In my research, 1 focused on the time period from Han Dynasty to Tang dynasty in ancient China. During Han dynasty, Shenyl style robe(심의형 포) was widely worn, and it shows very little foreign cultural influence. For the period of Wei·Jin Southern and Northern Dynasties, foreign aspects of costume started to show up Possibly due to the influence of Buddhism and influx of foreign tribes. For instance, it is not too difficult to find hufu (호복) as well as Shenyl style robe, and it appears this Wei Jin Southern and Northern Dynasties may have been a transitional period of accommodating two cultures without complete merger. Now, when it comes to Tang dynasty, we observe a creation of new cultural form in costume after adopting exotic culture. Because Sh ny style robe. often observed for a long time in Chinese history, disappeared, and tuanling(단영) and fanling(번영) became the main stream in their costume style in Tang dynasty.

• Mycobiology
• /
• v.48 no.4
• /
• pp.263-275
• /
• 2020

Phlebopus spongiosus is a well-known edible ectomycorrhizal mushroom indigenous to southern Vietnam. The mushroom specimens collected from northern Thailand in this study were identified as P. spongiosus. This identification was based on morphological characteristics and the multi-gene phylogenetic analyses. Pure cultures were isolated and the relevant suitable mycelial growth conditions were investigated. The results indicated that the fungal mycelia grew well on L-modified Melin-Norkans, and Murashige and Skoog agar all of which were adjusted to a pH of 5.0 at 30 ℃. Sclerotia-like structures were observed on cultures. The ability of this mushroom to produce fruiting bodies in the absence of a host plant was determined by employing a bag cultivation method. Fungal mycelia completely covered the cultivation substrate after 90-95 days following inoculation of mushroom spawn. Under the mushroom house conditions, the highest amount of primordial formation was observed after 10-15 days at a casing with soil:vermiculite (1:1, v/v). The primordia developed into a mature stage within one week. Moreover, identification of the cultivated fruiting bodies was confirmed by both morphological and molecular methods. This is the first record of P. spongiosus found in Thailand and its ability to form fruiting bodies without a host plant.

• Acta Via Serica
• /
• v.2 no.1
• /
• pp.31-47
• /
• 2017

The corridors to the north and south of the $Takl{\bar{a}}m{\bar{a}}k{\bar{a}}n$ (塔克拉瑪干 Ta-ke-la-ma-gan) Desert are the most important regions for cultural confluence on the Silk Road, where caravans made it to the Chinese capital or the Korean Peninsula by the northern road, through the city of Turfan, or the southern path of Khutan. Being an important part of the Silk Road in the course of history, this region was heavily influenced by the cultures of various nations and ethnic communities whose merchants utilized the road to advance their business. The region's language, writing system and literary structure were also affected, so much so that in the course of its tumultuous history, many words, phrases and terms belonging to neighboring cultures found their way into the region, leaving their mark on its linguistic structure. Of the cultural exchanges that took place between the peoples of the region, conspicuous traces can be seen in the architecture, music, literature, texts, and inscriptions. Located in the Turfan region, the minaret of Su Gong (蘇公 Su Gong ) is host to an inscription which bears many signs of such exchanges. As so far no independent research has been conducted to identify the cultural, literary and structural features conveyed in this inscription, the present paper is an attempt to study the inscription in terms of the script, language and syntax in order to unravel the effects of cultures prevalent on the Silk Road on this particular inscription. This study mainly aims to investigate the linguistic structure of the inscription and the impact of the Persian language on Silk Road culture. In fact, we approach the inscription as a symbol of cultural exchange on the Silk Road and will focus on the tradition of Persian inscription-making which affected the Turfan inscription.