• Journal of Life Science
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• v.24 no.8
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• pp.903-909
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• 2014

Plants are an invaluable source of potential new anti-cancer drugs. Sasa quelpaertensis Nakai (Korean name, Jeju-Joritdae) is one of these plants with medical value, which is a bamboo grass widely distributed in Mt. Halla on Jeju Island, Korea. Here, we investigated the apoptotic effects of S. quelpaertensis leaf extracts in six human cancer cell lines (A549, MCF-7, HepG-2, Hela, HCT116 and A375). MTT assay signified the antiproliferative nature of S. quelpaertensis extracts against all tested cancer cells: S. quelpaertensis displayed slight cytotoxicity against A549, MCF-7 and HepG-2 cells, whereas it was exclusively cytotoxic to Hela, HCT116 and A375 cells. Apoptotic cells were evaluated using PI staining of DNA fragmentation by flow cytometry (sub-G1 peak). PI staining indicated increasing accumulation of Hela, HCT116 and A375 cells at sub-G1 phase. Further events like generation of nitric oxide ($NO^{\bullet}$) were accompanied in the S. quelpaertensis Nakai-induced apoptosis. Augmented $NO^{\bullet}$ generation resulted in the DNA fragmentation of Hela, HCT116 and A375 cells by treatment with S. quelpaertensis leaf extracts. These results suggest that S. quelpaertensis may be a potential natural resource for treating cancer cell. To identify the exact mechanisms of molecular mechanism of S. quelpaertensis induced apoptosis awaits further investigation.

• Journal of Science of Art and Design
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• v.2
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• pp.193-221
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• 2000

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.

• Proceedings of the Korea Committee for Ocean Resources and Engineering Conference
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• 2001.05a
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• pp.180-185
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• 2001

In order to regulate the physical characteristics of an ocean dumping material in the south-eastern East Sea, the diffusion characteristics with the observation, hydraulic experiment and numerical experiment data are investigated. The main results are as follows; (1) Spying CTD observation result of the area of Jung in the East Sea, the ocean dumping area had influenced the Tsushima warm current of high temperature and salinity. Horizontal turbulent diffusivity is 1.913${\times}$10$^{7}$ $\textrm{cm}^2$/sec by drogue tracking. (2) From the experiment of settling, the initial settling velocity of each material is 1.0∼2.7 cm/sec according to the specific gravity and initial concentration. In the pycnocline, particles didn't settle under the pycnocline any more and accumulated. It is signified that calculation of the sedimentation rate of the ocean dumping material including of vertical diffustion must be regard the pycnocline in the ocean area have well-developed pycnocline. (3) Vertical turbulent diffusivity were 2.219${\times}$10$^{-8}$∼8,874${\times}$10$^{-4}$ $\textrm{cm}^2$/sec from the experiment of settling. And, the pycnocline influenced the vertical turbulent diffusivity. (4) From the result of diffusion simulation in the East Sea, the co-concentration line of 0.05 ppm and 0.1 ppm are limited at dumping area after 200 days. The constant concentration line of 0.01 ppm is distributed to the vicinity of Ulleungdo and Tokdo, but isn't distributed to the coastal area of East Sea and southern area of Jung in the East Sea.

• Journal of Fashion Business
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• v.24 no.3
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• pp.121-137
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• 2020

This thesis makes it an aim to develop designs of Shinhanbok coats interpreting and applying the formative structure of the lattice window pattern in Huijeongdang of the Changdeokgung palace, one of the best architecture in Chosun dynasty. Literature review about the history and characteristics of the window of Huijeongdang of the Changdeokgung palace was performed on the basis of the internet resources and papers, and the examples of the fashion design applying the lattice window patterns were analyzed. Then, three style Shinhanbok coats were designed and presented with making use of 6 kind of lattice window patterns as its motif. The coats were designed in flexible size, attempting to clad any kind of body size and shapes. Design 1 drawn from Wanjasal, Tisal, Design 2 drawn from Ajasal, Yongjasal, Tisal, design 3 drawn from Bitsal, Jungjasal. In conclusion, lattice window patterns of the traditional beauty highlighted in view of modern times might be suggested as the motif for expressing the proportion with balance and rhythm with stability. The division of the space with the line was tried with the technique of the bias cutting, stitching and taping with the design of simplicity signified in the aesthetics of the vacant space in addition to its ornamental effects. Thus, this study would like to contribute to the popularity of the Shinhanbok outlined in modern application and unique taste through the study and applications of the traditional lattice window pattern of Korea.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.65 no.2
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• pp.360-364
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• 2016

The rare earth output is concentrated in limited number of countries including China. Also the necessity for development of non-rare earth motor is getting signified due to the rapid increase of rare earth price and resource weaponizing policies. Non-rare earth motor is generally designed as spoke type PMSM (Permanent Magnet Synchronous Motor) in order to maximize the power density. Such spoke type PMSM has advantage in concentrating the flux but demonstrates lower efficiency compared to permanent magnet using Nd (Neodymium) permanent magnet. Therefore, applications with strong necessity for efficiency need rotor structure having improved efficiency compared to spoke type PMSM. Hence, this study suggested fan-shape type PMSM with somewhat lower power density but maximized efficiency. Fan-shape type PMSM is a rotor shape demonstrating outstanding reduction of iron loss compared to existing spoke type. Thus, this study analyzed the improvement of efficiency and reduction of loss arising from the suggested shape through parameter calculation.

• The Journal of the Korea Contents Association
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• v.3 no.2
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• pp.1-10
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• 2003

A semiotic approach to modem visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodemi sm." It views a work of art as a sign, which is its math odical assumption and, at the same time, makes its appli cation more accessible. In the milieu of modem visual arts' effort to be intimate with general audience, modem art photography is now fared with the request to be a familar and universal domain, instead of being left only in photo books as artistic and academic achievements. More specifically, various photo images puter graphics to such megaexhibitions as "Gwangju Biennale,. "Media City Seo ul," and "Pusan International Art Festival," are main objects of study. A coherent and scientific analysis of visual semitotics is still on the way, however, it is an urgent task how to read and interpret a photo image with multiple meanings. This study argues that visual seniotics can be a powerful tool to enhance the understanding of art photography. After all, seniotics is a product of age； we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena. art well as the social events and phenomena.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.123-138
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• 2019

The hat on the back of the upper jacket in Scythian, in of northern region surrounding the Black Sea, is described as a typical woolen hood, but until now has been overlooked in Korean costume studies. The purpose of this study is to analyze the hat on the upper jacket in Scythians and to recognize the meaning of the hat. A further purpose is to complete the basic framework of research concerning the Scythian costume by adding the part that was overlooked previously As for the research method, we collected literature, previous research results, the exhibition catalog, and the related artifacts for analysis. The literature was collected at the German Archaeological Research Institute. The analysis of artifacts was based on data collected by the researchers at the Heremitage Museum in Russia and data was taken by the staff of the Heremitage Museum. The conclusions of this study are as follows: Among the artifacts in the northern region of the Black Sea, it was perviously believed that Scythians status was signified by the wearing of hat-tops. Regardless of age, warriors and knights all wore upper jackets with hats, so it appears that the people who are active wore upper jackets with hats. On the other hand, it was assumed that the royal family, who wore ornamented, colorful, and decorative hats were not observed to have worn upper jackets with hats, and therefore did not require a hat. Therefore, it is considered that the hat in the Scythian society was a costume element emphasizing practicality, not necessarily a class symbol.

• Journal of Soil and Groundwater Environment
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• v.27 no.spc
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• pp.75-91
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• 2022

Differences in subsurface migration of LNAPL/DNAPL contaminants caused by a selection of 3-phase (aqueous, NAPL, and gas) relative permeability function (RPF) models in numerical modeling were investigated. Several types of RPF models developed from both experimental and theoretical backgrounds were introduced prior to conducting numerical modeling. Among the RPF models, two representative models (Stone I and Parker model) were employed to simulate subsurface LNAPLs/DNAPLs migration through numerical calculation. For each model, the spatiotemporal distribution of individual phases and the mole fractions of 6 NAPL components (4 LNAPL and 2 DNAPL components) were calculated through a multi-phase and multi-component numerical simulator. The simulation results indicated that both spilled LNAPLs and DNAPLs in the unsaturated zone migrated faster and reached the groundwater table sooner for Stone I model than Parker model while LNAPLs migrated faster on the groundwater table under Parker model. This results signified the crucial effect of 3-phase relative permeability on the prediction of NAPL contamination and suggested that RPF models should be carefully selected based on adequate verification processes for proper implementation of numerical models.

• Journal of English Language & Literature
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• v.53 no.2
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• pp.307-333
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• 2007

When W. E. B. Du Bois says that "the problem of the twentieth century is the problem of the color line," such a statement clearly recognizes the significance of the issue of racial identity, a cultural phenomenon called 'passing.' Both Johnson in The Autobiography of an Ex-Colored Man and Larsen in Passing confront this issue. Both novels, using the metaphor of passing, not only trace the racial anxiety and race politics of the time but also expose the unstable landscape of the established social and cultural boundaries of racial identity. Mapping out multiple meanings and various dimensions of passing, this paper argues how Johnson's and Larsen's narratives display the ambivalence of color line while they at the same time complicate, problematize, and destabilize the mainstream racial boundaries and differences. It furthers to delineate how the two writers, with difference, deal with the problem of passing, the significance of racial identity, and black middle class values along with its intraracial differences. Rather than draw a clear definition of and a definitive closure on passing narrative, this paper focuses on its complexities and undecidability, challenging every dimension of its established significations. It also explores the complex dynamic between passing act and individual identity, for passing here is not just a racially signified term but extends its significance to the other factors of identity, such as class and even sexuality. Johnson and Larsen open up a site for a newly emergent, modern racial identity for black middle class in the twentieth century American urban spaces. Both writers, illuminating the subversive and slippery nature of language in their passing narrative, clearly herald new, different forms of Afro-American writings and themes for the different century they face.

• KOMUNHWA
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• no.69
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• pp.41-62
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• 2007

This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself