• Journal of Plant Biotechnology
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• 제43권2호
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• pp.240-247
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• 2016

In this study, routinely used transformation method, which includes transferring explants onto co-cultivation medium after inoculating them with bacterial solution for a while, was compared with 3 different inoculation methods. In every 3 methods, hypocotyl explants excised from 7-day-old sterile flax seedlings having cotyledon leaves and no root system dried under air flow in sterile cabin for 35 min were inoculated with different volumes of bacterial solution at different inoculation periods. GV2260 line of Agrobacterium tumefaciens having 'pBIN 19' plasmid containing npt II (neomycin phosphotransferase II) gene and GUS reporter gene was used in transformation studies. After inoculation, hypocotyl segments of seedlings (0.5 cm in length) - were excised and left to co-cultivation for 2 days. Then, explants were transferred to regeneration medium supplemented with different antibiotics. The presence of npt-II and GUS genes in transformants was confirmed by PCR and GUS analysis. The highest results in all characters examined in all cultivars were obtained from the 2 inoculation method in which hypocotyls excised from seedlings inoculated with $500{\mu}l$ of bacterial solution after drying in sterile cabin for 35 min were used.

• 한국세라믹학회지
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• 제44권1호
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• pp.65-69
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• 2007

For self-developed alkali-alkaline earth-silicate and commercial glass melts for plasma display panel substrate, the corrosion behavior of fused casting refractory consisting of $Al_2O_3-ZrO_2-SiO_2$ was examined at the temperature corresponding to $10^2\;dPa{\cdot}s$ of melt viscosity by static finger methode. The corroded refractory specimens showed a typical concave shape due to interfacial convection of melts at their flux line. However, the corrosion thickness by commercial glass melts was $6\sim10$ times comparing to that by the self?developed melts. From the view point of the glass composition and the role of alkaline earth in glass network, it was discussed the effect of alkali/alkaline earth diffusion and temperature on the refractory corrosion.

• 한국식품위생안전성학회지
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• 제28권2호
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• pp.130-137
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• 2013

본 연구는 비허용 품목인 유지종실류 5종(달맞이꽃씨, 홍화씨, 유채씨, 해바라기씨 및 아마씨)을 선정하여 광자극발광법(PSL), 열발광법(TL), 전자스핀공명법(ESR) 및 기체크로마토그래프/질량분석법(GC/MS)을 활용하여 검지 특성 연구를 수행하였다. PSL 및 TL 측정 결과, 5종 모두 적용 가능성이 높은 것으로 판단하였다. ESR 분석결과는 5종 모두 조사시료에서 조사유래의 특이 ESR signal이 관찰되지 않아 적용 가능성이 낮다고 판단하였다. GC/MS 분석 결과, 홍화씨, 유채씨, 해바라기씨 및 아마씨의 경우에는 조사 유래의 hydrocarbon류가 검출되어 적용 가능성이 높은 것으로 판단하였다. 특히, oleic acid에서 유도된 8-heptadecene ($C_{17:1}$), 1,7-hexadecadiene ($C_{16:2}$)이 조사 여부를 확인하는 화학적 마커로 활용 가능성이 높았다. 달맞이꽃씨 경우에는 oleic acid에서 유도된 hydrocarbon류가 검출되지 않아 적용 가능성이 낮다고 판단하였다. 또한, 달맞이꽃씨, 홍화씨 및 해바라기씨에서 감마리놀렌산의 주요 원료인 linoleic acid에서 유도된 1,7,10-hexadecatriene ($C_{16:3}$)과 6,9-heptadecadiene ($C_{16:3}$)이 검출되어 조사여부를 확인하는 화학적 검지 마커로 활용 가능성이 높다고 판단하였다. 본 연구 결과를 통해 유지종실류 5종에 대한 적용 가능성 및 다중분석 체계(PSL-TL-GC/MS)를 확립하였다.

• 복식문화연구
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• 제3권2호
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.