• Korean Journal of Radiology
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• v.22 no.2
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• pp.168-178
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• 2021

Objective: To provide an automatic method for segmentation and diameter measurement of type B aortic dissection (TBAD). Materials and Methods: Aortic computed tomography angiographic images from 139 patients with TBAD were consecutively collected. We implemented a deep learning method based on a three-dimensional (3D) deep convolutional neural (CNN) network, which realizes automatic segmentation and measurement of the entire aorta (EA), true lumen (TL), and false lumen (FL). The accuracy, stability, and measurement time were compared between deep learning and manual methods. The intra- and inter-observer reproducibility of the manual method was also evaluated. Results: The mean dice coefficient scores were 0.958, 0.961, and 0.932 for EA, TL, and FL, respectively. There was a linear relationship between the reference standard and measurement by the manual and deep learning method (r = 0.964 and 0.991, respectively). The average measurement error of the deep learning method was less than that of the manual method (EA, 1.64% vs. 4.13%; TL, 2.46% vs. 11.67%; FL, 2.50% vs. 8.02%). Bland-Altman plots revealed that the deviations of the diameters between the deep learning method and the reference standard were -0.042 mm (-3.412 to 3.330 mm), -0.376 mm (-3.328 to 2.577 mm), and 0.026 mm (-3.040 to 3.092 mm) for EA, TL, and FL, respectively. For the manual method, the corresponding deviations were -0.166 mm (-1.419 to 1.086 mm), -0.050 mm (-0.970 to 1.070 mm), and -0.085 mm (-1.010 to 0.084 mm). Intra- and inter-observer differences were found in measurements with the manual method, but not with the deep learning method. The measurement time with the deep learning method was markedly shorter than with the manual method (21.7 ± 1.1 vs. 82.5 ± 16.1 minutes, p < 0.001). Conclusion: The performance of efficient segmentation and diameter measurement of TBADs based on the 3D deep CNN was both accurate and stable. This method is promising for evaluating aortic morphology automatically and alleviating the workload of radiologists in the near future.

• Journal of Physiology & Pathology in Korean Medicine
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• v.22 no.6
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• pp.1359-1367
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• 2008

DSOM(Diagnosis System of Oriental Medicine) was made as a computerized assistant program for oriental medicine doctors to be able to diagnose with statistical basis. Then DSOM uses questionnaires filled out by subjects without enough explanatory guide. If the subject misunderstand the meaning of the passages, we might not rely on that result. So I designed this study to investigate the diagnostic correspondent rates between DSOM and practitioners. First, let the respondents answer to DSOM(DSOM-Ⅰ for the rest). After that, three doctors diagnosed the respondents and marked how much they had symptoms about 16 pathogenic factors in the score range 0${\sim}$5('0' means they didn't have that symptom, '1' means they had that symptom but mild, '3' means they had that symptom moderately, '5' means they had that symptom severely. And let the respondents answer to DSOM(DSOM-Ⅱ for the rest) again. Finally, we investigated the correspondent rates of diagnosis between DSOM-Ⅰ,Ⅱ and doctors'. We obtained conclusions as following. In the comparison of output frequency rate of the pathogenic factors, the difference between DSOM-Ⅰ and Ⅱ was 1%. In the correspondent rates of diagnosis between DSOM-Ⅰ,Ⅱ and doctors', In DSOM-Ⅰ and Ⅱ answered by subjects two times respectively, the correspondent rate was highest in insufficiency of Yang(陽虛) and liver(肝) as 93.2%, lowest in damp(濕) as 69.5% and showed 81.9% in all 16 pathogenic factors mean. In DSOM-Ⅰ and Ⅱ, and Doctors' diagnose, they showed the complete correspondent rates of 15.3${\sim}$61.0%, 15.3${\sim}$59.3% in individual pathogenic factor, 36.5%, 37.3% in all 16 pathogenic factors mean each, and within ${\pm}$1 errorrange, they showed the correspondent rates of 32.2${\sim}$93.2%, 35.6${\sim}$89.8% in individual pathogenic factor, 67.6%, 67.3% in all 16 pathogenic factors mean each, and within ${\pm}$2 error range, they showed the correspondent rates of 62.7${\sim}$98.3%, 71.2${\sim}$100% in individual pathogenic factor, 85.1 87.6%% in all 16 pathogenic factors mean each. In the correspondent rates of the severe case, In the cases that the Doctors' diagnostic score mean was over 3(the severity of disease is middle), there were deficiency of qi(氣虛), stagnation of qi(氣滯), blood stasis(血瘀), damp(濕), liver(肝), heart(心), spleen(脾) and they all showed the correspondent rates of over 60 except blood stasis(血瘀). In the cases that the weighed pathogenic factor was above 9, the correspondent rates were 50${\sim}$100%. deficiency of qi(氣虛), blood-deficiency(血虛), stagnation of qi(氣滯), blood stasis(血瘀), insufficiency of Yin(陽虛), insufficiency of Yang(陽虛), coldness(寒), heat (熱), damp(濕), dryness(燥), liver(肝), heart(心), spleen(脾), kidney(腎), phlegm(痰).

• Journal of Korean Medical classics
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• v.24 no.4
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• pp.157-174
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• 2011

We derived following result by organizing research about processing of medicinal of before Han(漢) dynesty. The human being intake of natural substance for the purpose of treatment was what happened later than the use of natural substance as food. According to the record of by the early years of Shang(商) dynasty, we can assume that we cooked food with water and fire. The reason why there is no appearance of common production that can be included under the name of 'Tang Ye(湯液)' in the medical record discovered from Ma Wang Dui(馬王堆) is because 'Tang Ye' was yet developed. However, as the presentation of format of medicine process, there was gradual formation of medicinal fluid concept. There are quite of records on major details of cloth manufacture like washing and selection, grinding, processing of medicine from the recordings of "Wu Shi Er Bing Fang(五十二病方)", "Yang Sheng Fang(養生方)", "Za Liao Fang(雜療方)" discovered at Ma Wang Dui. It used words like 'Ze(擇)', 'Qu(去)' for the selection and 'Jiu(酒)', 'Zhuo(濯)' for the wash as a process method before cloth manufacture. When filter the processed medicine, it used words like 'Zhuo(捉)', 'Suo(索)', 'Jun(浚)' and used 'Yin Gan(陰乾)', 'Bao(暴)', 'Yang(暘)' for dry. The 'cutting(切削)' that crushes the medicine used different names based on the properties of medicines. The most frequent crush is 'Ye(冶)' and it means the powered medicine after dry. There was thermal process of mild fire(微火) and heating of 'Wen(溫)'. There are many states of medicine seen from the medical record discovered at Ma Wang Dui so they can be said as original medicine. 藥末劑 is relatively commercialized type then. Here, it includes later 湯劑 but there was no name such as 'decoction(湯)' or 'decoction of medical ingredients(湯液)'. Also, 'Fu Ju(㕮咀)' is the transformation of what was 'Fu Qie(父且)' at "Ja Liao Fang" of medical books of Ma Wang Dui with time flow. The original meaning of 'Fu Qie(父且)' is 'Fu Zu(斧俎)' and it means the crushing medicine with axe. The most important thing among the medical books of Han dynasty is "Shen Nong Ben Cao Jing(神農本草經)" and "Shang Han Za Bing Lun(傷寒雜病論)" of Zhang Zhong Jing(張仲景). "Shen Nong Ben Cao Jing" mentioned the dry method of medicine, collection and process production time, cooked and uncooked use of medicine and there are several types of medicine. Other than those, it mentioned 'Seven methods of combining herbs(七情合和)' to address cautions for combining medicines. Therefore, the 'processing of medicinal' in east Han dynasty period entered the theoretical step. However, there is only little recording on cloth manufacture of detailed medicine. From the "Shang Han Za Bing Lun" of Zhang Zhong Jing, the development in the way of 'processing of medicinal' reveled the cloth manufacture for each medicine. This tradition is continued until today and so it presents the development of purpose of 'processing of medicinal' is to greatly present the effect of medicine and to reduce the side-effect.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• Sim-seong Yeon-gu
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• v.38 no.1
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• pp.1-44
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• 2023

Hexagram Bi (比 ䷇ 8) is one of the hexagrams comprised of one-unbroken line and five-broken lines. The hexagrams of one-unbroken and five-broken lines symbolize the relationship and dynamics between one yang-consciousness and the five-yin unconsciousness. The hexagram of one-unbroken line and five-broken lines has six different images depending on the position of the one unbroken line from the beginning line to the top line. In terms of psychology, this means that the position change of one yang line in relation to five yin lines may symbolize the function of consciousness which clarifies and determines the content of the psyche. In addition, the flow of psychic energy can be examined through the process of one unbroken line's movement. In other words, the psychic contents of the beginning line of hexagram Bok (復 ䷗ 24), which is the beginning of the hexagram of one-unbroken line and five-broken lines, proceed sequentially, and then arrive at the process of the last sixth, hexagram Bak (剝 ䷖ 23) through the fifth, the hexagram Bi (8). That is, it can be said that the content of the hexagram and the line determined according to the position of one unbroken line show a certain psychic flow. As a result, the first hexagram Bok (復 ䷗ 24), after recovering and starting newly, means the beginning of consciousness. After that the process of proceeding with the second, third, and fourth lines represents the flow of consciousness. And in the fifth place, the fifth line of hexagram Bi, it reaches its peak and is placed in the optimal state of consciousness because of its right and centered position at this hexagram Bi. Like nature, the psyche gradually enters the path of decline from the highest state, which leads to the last sixth, the top line of hexagram Bak. However, the top line of the hexagram Bak, where everything falls off, contains the content of starting again in its top line. It is the beginning line of hexagram Bok to inherit this. This means the circumambulation of the psyche that changes from a psychologically difficult state of depression to a stage of recovery. There is a stage that must be passed in this circulation process, and that is the hexagram Gon (坤 ䷁ 2). October(tenth month)'s hexagram Gon is placed between hexagram Bak, the ninth month of the lunar calendar, and hexagram Bok, the eleventh month of the lunar calendar. This represents that the flow of recovery must go through a maternal process of hexagram Gon. The retreat to the psychological uterus is inevitable in regenerating the psyche. This process flows from the hexagram Bak and through hexagram Gon to the hexagram Bok. At this situation the hexagram Gon acts the absolutely necessary role. In addition, the main body of the hexagrams of one-unbroken and five-broken lines, including the Bi hexagram, is also the Gon hexagram composed of six-broken lines. In other words, all six hexagrams of one-unbroken and five-broken lines have a certain relationship with the Gon hexagram, and it would be meaningful to look at the correlation between the unbroken lines of the hexagrams of one-unbroken and five-broken lines and the corresponding broken lines of the hexagram Gon. This can be said to be the dynamics of the maternal unconscious connected to the state of consciousness in six forms. Therefore, each hexagram of one-unbroken and five-broken lines symbolizes the expression of the integration the mother archetype with the consciousness. Revealing this well is the meaning of the hexagram of one-unbroken and five-broken lines. Its hexagram image consists of a combination of Gon (☷), which symbolizes the mother, and the thunder (☳) the eldest son, the water (☵) the middle son and the mountain (☶) the third son. As a result, the hexagram Bok (復 ䷗ 24), Sa (師 ䷆ 7), Gyeom (謙 ䷠ 15), Ye (豫 ䷏ 16), Bi (比 ䷇ 8) and Bak (剝 ䷖ 23) are sequentially created in the order of the unbroken line. This is symbolically the evolutionary process of consciousness. In this way, the hexagrams of one-unbroken and five-broken lines, which mean the conjunction of mother and son, represent the advancing relationship between the maternal unconscious and consciousness. In addition, the relationship with the mother according to the position of the son is related to the dynamics of mother archetype to the attitude of consciousness. The psychological meaning can be deduced from the flow of six lines of hexagrams of one-unbroken and five-broken lines. And the state in which the activation of the consciousness is at its peak is the fifth line of the hexagram Bi, and comparing it with the contents of the corresponding fifth line of hexagram Gon not only can find the state and meaning of the conjunction of consciousness and the maternal unconscious, but the entire flow can be compared to the individuation process.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of Korean Medical classics
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• v.6
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• pp.252-305
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• 1993

I have studied the relation between a Taoist(道家) and the oriental medicine(韓醫學), it is summerized as following. 1. According to the relation between a Taoist(道家) and the oriental medicine, Lao-tzu(老子)' mathematical principle that had an influence on Three yin-three yang(三陰三陽) theory of the oriental medicine, idea of natural philosopy(自然無爲) and the freedom from avarace(無慾) on the oriental medicine. 2. Vital essence and energy theory(精氣設) in a Taoist not only can be seen in Lao-tzu' Do dug gyung(老子道德經), Maengza(孟子), Guanza(管子), but also its principle has something to do with Nei Ching's Vital essence and energy theory(精氣設). 3. Danjungpa(丹鼎派) can be divided into Naedansul(內丹術) which preserves through the breath and Oedansul(外丹術) which makes one a Taoist hermit. If he takes magic portions(金丹), they had a great effect on Yangsanghak(養生學) and was actually concerned with oriental doctors who was known to us. 4. If medicine of Taoism is classified, it can be divided into three categories. Boiled solution(渴液), Pharmacopea "Ben cao"(本草), Acupuncture & moxibustion(針灸), Magic portions(外丹) are used in the first category. Chinese setting-up and Therapeutic exercises(導引), Josik(調息), Naedan(內丹), Byugok(辟榖), Naeshi(內視), Banjung(房中) belong to second category. The religious contents such as Bu(符), Jeum(占), Cheum(籤), Ju(呪), Je(齊), Gido(祈禱), taboo are implied in third category. 5. In the history of the medicine of Taoism and oriental medicine, they are called animism, shamanism, Mu(巫) or Ye(毉), not separated at first period. In the end of junguk(戰國時代), Ye(醫) was clearly distinguished from Mu(巫) and then Mu(巫) was developed into medicine of Taoism and ye(毉) into the present form of oriental medicine. 6. The oriental medicine doctors that are concerned with Taoism are Bakgo(伯高), Geyugu(鬼臾區), Soyu(少兪), Noigong(雷公), Pyujak(篇鵲), Sunuyi(淳于意), Hwata(華陀), Hwangbomil(皇甫謐), Hangang(韓康), Dongbong(童奉), Heuson(許遜), Galhong(葛洪), Dohongyung(陶弘景), Damlan(曇鸞), uyjajang(葦慈藏), Sonsanak(孫思邈), Wanguing(王氷), Jegonghwalbul(濟公活佛), Yuwanso(劉完素), Judonge(朱丹溪), Leesijin(李時珍), Johakmin(趙學敏), Ougu1(吳杰) etc. 7. The view of a human body in the medicine of Taoism affected the oriental medicine on the ground that man was regarded as a microcosm(小宇宙), so he was compared to a nation or heaven and earth. 8. The anatomy of medicine of Taoism gave a detail description of five visceras and each organs, the heart, center of mental function, Mirie(尾閭) which has an relationship to the training of Naedan(內丹修練). In this resrect, as it is accord with the acupunture point of oriental medicine, therefore we can find that Taoism influenced oriental medicine, also explicit study was achieved. 9. Acient people believed that the goo in the human lxxIy, one of the characteristics of the medicine of Taoism cured the patients and then protected him from the disease. If a man was taken ill, they had him cured by making the god's name which corresponded to its disease, calling him communicating with him, and asking him to deprive him of illness. This treatment was used to live and be kept young eternally. In this respects, we can see that they emphasized on the attitude of Bulchiyibeung chimibeung(不治己病治末病) and psychological treatment. 10. Samsi thoery(三尸說) that one's fortune, disaster, health, and disease in the world are at the mercy of his good or bad conduct, is concerned with Taoism and treatment with the oriental medicine. 11. Guchung(九蟲) is more closly associated with the religious aspect rather than with the medical aspect. Because of the similarity of the mcdern parasitism, its study has an important meaning. 12. The respect for the human life is reflected in jeunsi(傳屍), with Samsi-guchung theory(三尸九蟲說), which is considered as mxIern tuberculosis.

• 한국균학회소식:학술대회논문집
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• 2015.05a
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• pp.59-59
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• 2015

Cryptococcus neoformans causes life-threatening meningoencephalitis in humans, but the treatment of cryptococcosis remains challenging. To develop novel therapeutic targets and approaches, signaling cascades controlling pathogenicity of C. neoformans have been extensively studied but the underlying biological regulatory circuits remain elusive, particularly due to the presence of an evolutionarily divergent set of transcription factors (TFs) in this basidiomycetous fungus. In this study, we constructed a high-quality of 322 signature-tagged gene deletion strains for 155 putative TF genes, which were previously predicted using the DNA-binding domain TF database (http://www.transcriptionfactor.org/). We tested in vivo and in vitro phenotypic traits under 32 distinct growth conditions using 322 TF gene deletion strains. At least one phenotypic trait was exhibited by 145 out of 155 TF mutants (93%) and approximately 85% of the TFs (132/155) have been functionally characterized for the first time in this study. Through high-coverage phenome analysis, we discovered myriad novel TFs that play critical roles in growth, differentiation, virulence-factor (melanin, capsule, and urease) formation, stress responses, antifungal drug resistance, and virulence. Large-scale virulence and infectivity assays in insect (Galleria mellonella) and mouse host models identified 34 novel TFs that are critical for pathogenicity. The genotypic and phenotypic data for each TF are available in the C. neoformans TF phenome database (http://tf.cryptococcus.org). In conclusion, our phenome-based functional analysis of the C. neoformans TF mutant library provides key insights into transcriptional networks of basidiomycetous fungi and ubiquitous human fungal pathogens.

• Journal of Ginseng Research
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• v.44 no.3
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• pp.442-452
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• 2020

Backgroud: Sleep deprivation (SD) impairs learning and memory by inhibiting hippocampal functioning at molecular and cellular levels. Abnormal autophagy and apoptosis are closely associated with neurodegeneration in the central nervous system. This study is aimed to explore the alleviative effect and the underlying molecular mechanism of stem-leaf saponins of Panax notoginseng (SLSP) on the abnormal neuronal autophagy and apoptosis in hippocampus of mice with impaired learning and memory induced by SD. Methods: Mouse spatial learning and memory were assessed by Morris water maze test. Neuronal morphological changes were observed by Nissl staining. Autophagosome formation was examined by transmission electron microscopy, immunofluorescent staining, acridine orange staining, and transient transfection of the tf-LC3 plasmid. Apoptotic event was analyzed by flow cytometry after PI/annexin V staining. The expression or activation of autophagy and apoptosis-related proteins were detected by Western blotting assay. Results: SLSP was shown to improve the spatial learning and memory of mice after SD for 48 h, accomanied with restrained excessive autophage and apoptosis, whereas enhanced activation of phosphoinositide 3-kinase/protein kinase B/mammalian target of rapamycin signaling pathway in hippocampal neurons. Meanwhile, it improved the aberrant autophagy and apoptosis induced by rapamycin and re-activated phosphoinositide 3-kinase/Akt/mammalian target of rapamycin signaling transduction in HT-22 cells, a hippocampal neuronal cell line. Conclusion: SLSP could alleviate cognitive impairment induced by SD, which was achieved probably through suppressing the abnormal autophagy and apoptosis of hippocampal neurons. The findings may contribute to the clinical application of SLSP in the prevention or therapy of neurological disorders associated with SD.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.26-37
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• 2015

This paper aims to review all landscaping elements of Donggwoldo by building and identify the palatial garden landscaping characteristics and landscaping methods in a bid to explore landscaping methods applicable for modern-time gardens of Korea through Succession of Tradition. The research methodology was adopted by which the palatial gardens appearing in Donggwoldo were observed according to garden elements to identify their characteristics. Garden elements in Donggwoldo include oddly shaped stones, ponds, buildings and Madang, borders and areas, and trees. Their characteristics were analyzed, and as a result they are outlined as follows. Location : Buildings in Donggwoldo were located in the optimal areas within the Myungdang (the best location), with the building sites being created by transforming the natural topography positively according to the existing topography and uses. Tree planting : The construction of the buildings involved using the existing trees. There were no specific principle and method of planting trees, and no specific criteria for choosing the kind of tree. Symmetrical planting was adopted and its is considered embracing the viewpoint of making gardens based on the expression of Yin and Yang. Strongly symbolical kinds of trees were also adopted. Bangji : it takes a nearly circular shape in palatial gardens, and such shapes represent conceptual and abstract symbols. They were also frequently used as the place of public entertainment. Pavilions : they did not take a certain standard shape. They had diverse shapes, including a triangle, square, pentagon, hexagon, and octagon and cross. Oddly shaped stones : Oddly shapes stones and stone cases were deployed mainly near the bedroom and the crow prince's residence and in the rear garden. Hwagye : it appeared mainly in the back of the bedroom, the crown prince's residence, the princess's residence, and other women's quarters. Chwibyeong : it was installed for the purpose of drawing the natural energy like a natural inlet instead of being the nature-dividing wall. Korea's garden composition method was very different from the Western and Chinese method. Overall, Chosun palatial garden style was characterized by strict and Confucian features, while the garden construction method adopted the Taoism thought. Yet, the gardens had a carefree aspect.