• Korean Journal of Plant Tissue Culture
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• v.24 no.1
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• pp.57-61
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• 1997

We investigated changes in the superoxide dismutase (SOD) activity and SOD isoenzyme pattern in suspension cultures of tomato (Lycopersicon esculentum), which were compared with those of intact tomato plants. two grams (fr wt) of cells subcultured at 15-day intervals were inoculated into 50 mL MS medium containing l mg/L 2,4-D and 30 g/L sucrose in a 300 mL flask and maintained at $25^{\circ}C$ in the dark (100 rpm). The cell growth reached a maximum at 20 days after subculture (DAS), followed by a rapid decrease with further cultures. The cell colour changed from white to black from 23 DAS. The intracellular SOD activity (units/g cell dry wt) was significantly increased from 23 DAS and reached a maximum at 28 DAS (52,400 units), followed by a decrease with further cultures, whereas the extracellular SOD activity showed a maximum at 25 DAS (27,800 units/50 mL medium). The total SOD activity per flask showed a maximum at 25 DAS (35,700 units), in which the extracellular SOD activity occupied about 75%. The tomato cultured cells had four SOD isoenzymes and their patterns were well correlated with SOD activity without a qualitative change during the cell cultures. The intact tomato plants had an additional CuZnSOD isoenzyme, showing the different isoenzyme patterns from cultured cells.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.192-211
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• 2021

In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Journal of Sericultural and Entomological Science
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• v.18 no.2
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• pp.65-78
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• 1976

The mulberry small weevil, Baris deplanata ROELOFS, has highly infested mulberry trees in Korea. As the damage caused by the mulberry small weevil in mulberry fields has been increased over the country since 1969, the authors has carried out a series of biological and controlling studies on the pest from 1971 to 1972. The results obtained are summarized as follows. 1. The adult weevil is elongate oval in shape with black in color and the probocis is long as usual in curculionidae. The size of adult female is 3.30${\pm}$0.04mm in length, 1.47${\pm}$0.04mm in width, and the length of proboscis is 1.25${\pm}$0.014mm, while adult male is 3.28${\pm}$0.06mm in length, 1.40${\pm}$0.04mm in width, and the length of proboscis is 1.30${\pm}$0.02mm. The antenna is geniculate consisting of 12 segments. The terminal sternite of the abdomen has a pointed tip in male but not in female. 2. The egg is long oval in shape, milky white in color, 0.51${\pm}$0.05mm in length and 0.32${\pm}$0.02mm in width. 3. The mature larva is cylindrical and light yellowow in color except the head of dark brown, and legless, 3.88${\pm}$0.06mm in length, 1.40${\pm}$0.02mm width, each segment bearing many wrinkless and short setae. 4. The pupa is long oval, milky white and exarate, 3.53${\pm}$0.09 in length, 1.40${\pm}$0.03mm in width. 5. Majority of the species has one generation through a year and overwinters as adult in xylem of withered branch and come out again from late April to early May in next year. But some of the female oviposit in the same year and the offsprings overwinter as larva (0.4%) or pupa (0.1%) 6. The eggs are mostly laid under the cork layer of withered branch and the number of eggs deposited by an adult female is 73.44${\pm}$8.74, the average egg-laying period is 33.88${\pm}$6.04 days. The incubation period is 11.69${\pm}$0.39 days, the larval period 45.04${\pm}$1.63 and the pupal period 11.05${\pm}$0.49 days. The period of adult's activity is 46.7${\pm}$5.90 days. 7. The larvae feed on the cambium under the bark and adults feed on the winter bud, the latent bud, the leaf stalk and the base of newly shoot. 8. An active period of adults was observed during the period of 4 months from April to July. However, the peak of adult-density occurred in the early May (in the fields of spring-prunning) and early to middle June(in the fields of summer-prunning). 9. There is a positive correlation between the density of larvae and diameter and length of the branches. 10. The pattern of distributions of the adult of mulberry small weevil is negative binomial distribution. 11. The chalcid fly was disclosed to be a natural enemy which was parasite on the larvae of mulberry small weevil and its parasitic ratio was 11.9%. 12. Phosvel D, Malix D, Salithion EC, DDVP EC, and Phosvel EC were effective for the control of adults and Satchukoto-S EC, and Salithio EC were effective for the control of larvae.

• Korean Journal of Poultry Science
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• v.39 no.2
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• pp.97-104
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• 2012

Newcastle disease virus (NDV) infects a variety of birds with a wide range of clinical signs from asymptomatic to severe. During a 10-month period in 2011, a total of 1,024 sera from wild birds including 42 species of birds in 8 orders were collected and the seroprevalence of NDV in wild birds was evaluated by hemagglutination inhibition (HI) test. Evidence of NDV infection was observed in 12.6% (129/1,024) of wild birds with a maximum prevalence reported in Mandarin duck (27.8%, 32/115) followed by Mallard duck (20.8%, 57/274), Spot-billed duck (11.9%, 36/303), Pintail (2.9%, 1/34), Black-tailed gull (2.9%, 1/34), White-fronted goose (1.8%, 1/56) and Common teal (1.4%, 1/69). None of the other 35 species of wild birds were antibody-positive for NDV. Mandarin duck, Mallard duck and Spot-billed duck showed high sero-prevalance of 12.2% to 42% during winter season (November to March). Our results indicate that Mandarin duck, Mallard duck and Spot-billed duck might be natural reservoirs for NDV in Korea and the prevalence of NDV infection in wild birds displayed a seasonal pattern with high prevalence of NDV in winter season (November to March).