• Animal cells and systems
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• v.8
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• pp.11-11
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• 2004

• 대한치과보철학회:학술대회논문집
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• 2000.04a
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• pp.27-27
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• 2000

• Journal of Fashion Business
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• v.11 no.4
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• pp.232-246
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• 2007

The purpose of this study is to investigate aesthetic characteristics and aesthetic consciousness of the style that European fashion(Paris, London, Netherlands) has accepted the since $19^{th}$ century. The mode Japonisme's development process in around $20^{th}$ century and 21st century has 6 characteristics as follows; 1. Accepting kimono as dressing gown 2. Accepting kimono as Japanese style's objet of Japanese taste 3. Accepting Japanese textile's skills, patterns, and asymmetry. 4. Accepting kimono's formative nature : flat pattern, flexibility, style etc. 5. Shocking of Japanese style's beauty 6. Accepting characters and casual wear Japanese aesthetic consciousness expressed on unconstructed design or deconstructed design that is the aesthetic characteristic of Japanese fashion is , , and the aesthetic consciousness expressed on Zen(Seon) style, cartoons of character fashion, and costume play is .

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.60-61
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• 2001

• Applied Microscopy
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• v.38 no.1
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• pp.29-34
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• 2008

Small amounts of zinc ions regulate a plentitude of enzymatic proteins, receptors and transcription factors, thus cells need accurate homeostasis of zinc ions. Some neurons have developed mechanisms to accumulate zinc in specific membrane compartment ("vesicular zinc"), which can be evidenced using histochemical techniques. These neurons are the socalled zinc enriched (ZEN) neurons, which accumulate glutamate and zinc inside their synaptic vesicles and release it during synaptic transmission. In the present paper we have studied the distribution of the ZEN terminals in the rat hippo-campus using ZnSe autometallography, Neo-Timm staining, ZnT3 immunohistochemistry and TSQ fluorescence staining.

• Proceedings of the Korean Institute of Resources Recycling Conference
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• 1993.03a
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• pp.25.3-26
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• 1993

• Proceedings of the Korean Vacuum Society Conference
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• 2008.08a
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• pp.231-231
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• 2008

• Proceedings of the Zoological Society Korea Conference
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• 2003.08a
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• pp.33-33
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• 2003

No Abstract, See Full Text

• Journal of architectural history
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• v.14 no.3 s.43
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• pp.77-88
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• 2005

This study is to find out the characteristics of the changes of the site layout in Beopjusa which was built on Maitreya faith in the Shilla.. According to the analysis of it in this study, we make conclusions as follows; 1) The reconstruction of Beopjusa means a start in Dhamalsama(法相宗) and then it was supposed to be Buddhist temple which was formed by intersecting axis of centering around a wooden pagoda(捌相殿) with a main Buddhist hall and a lecture hall. 2) After the middle of Koryo dynasty, Beopjusa was changed to building layout of intersecting with Yongwabojeon(龍華寶殿) and Daeungbojeon(大雄寶殿) because of harmony with Avatamsaka(華嚴宗) and Dhamalsama centering around Avatamsaka. 3) The buildings of Zen Buddhism was built in the early Chosun dynasty owing to a prevalence of Zen Buddhism in the late Koryo dynasty. And since 17th century, Buddhist halls were each built in their a faith system according to interpenetrated Buddhism(通佛敎). 4) The courtyard type of mountainous district was made on interpenetrated Buddhism. On the other hand, the site layout of Beopjusa is being maintained by centripetal spatial organization through the wooden pagoda as object.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.17-28
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• 2001

The purposes of this study were to arrange and analyze the Oriental Mode in 20th century fashion and to clarify that Oriental dress and its ornaments appearing as the main subject of Occident fashion gradually The results were as follows : First, Oriental Mode in 1900-1950s was prescribed as the 'Orientalism' to be expressed Occidental imperialistic viewpoint. Therefore, the Orient was used as the simple recording mark of the imperialism product or commercial motive and it was reflected in fashion. Second, it was explained in 1960-1970s as the 'Folklore Orientalism' that focus was moved into the folklore costume of Orient. Third, in 1980s, 'Ethnic' was conspicuous that reflected the traditional costume in the area of non-christianity. Especially, it was the decade that the Middle East attracted attention. Fourth, Oriental Mode in 1990s appeared as the 'Fusion' that Oriental and Occidental elements were mixed and compromised on equal terms. Fifth, it was expressed as a word 'Zen' that had natural fiber, moderate color and silhouette to be most basic and concise about human body at the end of 1990s. This study could confirm that the center of fashion was being converted into the Orient gradually. This may be understood as the pluralistic culture phenomenon. Namely, eclectic principle to recognize mutual style and individualistic nature and to utilize and mix was made, and this brought the conversion into Oriental sense of value.