• Journal of Plant Biotechnology
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• v.50
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• pp.11-18
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• 2023

Manihot esculenta Crantz, commonly known as cassava, is a staple aliment that is a significant source of revenue for farmers. The embryogenic callus is crucial in the genetic engineering of various crop species, including cassava. Four cultivar cassava landraces from East Java were assessed for their ability to produce friable embryogenic callus (FEC) for protoplast isolation. In this study, four cassava cultivars; (Kaspro, Kuning, Gajah, and Gendruwo); were used to obtain FEC, which involved the culture of immature leaf lobes (ILLs) and apical buds (ABs) media containing MS supplemented with 33 μM picloram and 2 μM of CuSO₄ (M1) or MS supplemented with 50 μM 2,4-D and 2 μM CuSO₄ (M2). The highest FEC induction efficiency ranged from 72% to 57%, and the highest FEC number ranged from 4.7 to 3.7 with AB explants in media containing MS + 33 μM pilocram and 2 μM CuSO₄ (M1). On the other hand, the efficiency of somatic embryogenesis induction ranged from 67% to 53%, and the number ranged from 4.4 to 3.4. The efficiencies of FEC induction ranged from 48% to 42%, and the number ranged from 3.1 to 2.6 with AB explants in media containing MS + 50 μM 2,4-D and 2 μM CuSO₄ (M2); the efficiency of FEC induction ranged from 56% to 50%, and the value ranged from 3.6 to 2.4 with ILL explants. The FEC induction of the Gendruwo cultivar, which was examined using AB and ILL explants, demonstrated the lowest efficiency. Nevertheless, all four cultivars showed the ability to generate FEC, even though their effectiveness differed depending on the explant genotype and the applied media.

• Development and Reproduction
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• v.27 no.4
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• pp.213-220
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• 2023

Previously, we showed that a chronic-low-dose nonylphenol (NP) exposure resulted in histological changes with sexually dimorphic pattern in rat adrenal glands. We hypothesized that such structural changes are closely related to the hormonal secretory patterns. To test this hypothesis, we developed the short-term adrenal incubation method, and measured the levels of catecholamines and cortical steroids using the high-performance liquid chromatography with electrochemical detection (HPLC-ECD) and specific enzyme-linked immunosorbent assay, respectively. The norepinephrine (NE) levels in media from NP-treated female adrenal, except 100 pM NP, were significantly increased [control (CTL) vs 1 nM NP, p<0.001; vs 10 nM NP, p<0.05; vs 100 nM NP, p<0.001; vs 1 µM NP, p<0.01]. The NE secretion from male adrenal was higher when treated with 100 nM and 1 µM NP (CTL vs 100 nM NP, p<0.05; vs 1 µM NP, p<0.05, respectively). The aldosterone level in the female adrenal media treated with 100 pM NP was significantly decreased, on the other hand, that of media treated with 10 nM NP was significantly increased (CTL vs 100 pM NP, p<0.05; vs 10 nM NP, p<0.01). In male adrenal media, the aldosterone levels of 10 nM, 100 nM and 1 µM NP-treated media were significantly declined (CTL vs 10 nM NP, p<0.001; vs 100 nM NP, p<0.001; vs 1 µM NP, p<0.001). These results showed the NP treatment altered secretory pattern of aldosterone from adrenals of both sexes, showing sexual dimorphism. It may be helpful for understanding possible adrenal pathophysiology, and endocrine disrupting chemicals-related sexually dimorphic phenomena in adrenals.

• Fisheries and Aquatic Sciences
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• v.26 no.11
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• pp.649-659
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• 2023

The present study compared the structure of mixilliped of Fenneropenaeus chinensis between the larval and adult stage and investigated the effect of the structural difference on the immunity of F. chinensis. A fourteen day and a one-month long culture trial were conducted each with postlarvae and adults of F. chinensis in the biofloc, mixed water (50% biofloc:50% clear seawater) and seawater control. Immune-related genes mRNA expressions of postlarvae was analysed by quantitative reverse transcription polymerase chain reaction (qRT-PCR). And the analysis of adult stage immunity was carried out using phenoloxidase (PO) enzyme activation in haemocyte. In the postlarvae, the final body weights were 51.43 and 58.47 mg for the biofloc water and the control seawater, respectively. On the other hand, the final body weights of the adults were significantly different between biofloc water and seawater. The survival rate showed the opposite trend to the growth rate. Immune related genes mRNA expression levels in the postlarvae in the biofloc water were significantly lower than those in the seawater. While, the adult stage showed significantly higher PO enzyme activations in the biofloc water than in the seawater with the PO enzyme activation increasing proportionally to the biofloc concentration. This result is considerably explained by the observations of setal morphological structures of the third maxilliped: postlarvae have short serrulated setae that compose the small 'net' structure while adults had long and dense plumose setae. It is understood that the morphological difference of the maxilliped structure resulted in the different feeding abilities in the postlarvae and the adult F. chinensis to use bioflocs as food source.

• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.133-140
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• 2024

Extended Reality (XR) is an immersive technology that combines the real and virtual worlds and is being actively researched across various industries. This study proposes a method for utilizing the Meta Quest 3, a head-mounted display (HMD) that provides mixed reality, outdoors for the first time by leveraging the GPS information from a smartphone. Augmented virtual objects are positioned using location information and the orientation. Additionally, by using the features of the Meta Quest 3, virtual objects are made to appear alongside the real world, allowing users to interact with virtual objects through hand gestures. This study aims to link present and past spaces by using location information and photographs on the HMD, providing a novel experience of freely traversing time and space.

• Korean journal of communication and information
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• v.45
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• pp.151-186
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• 2009

This article focuses on analysing and interpreting cultural imperialism issues that have long been debated. One of issues among them is related to the characteristics of international cultural fluid. What had been debated is that cultural imperialism has been ended or not and the debates were connected to the so called 'reverse cultural imperialism'. The other issue is about this fluid is the continuation of globalization or a part of localization and this is related to the phenomena of cultural homogenization or hybrid. General trend was that simplistic cultural imperialism which had been occurred during the 1970s and 1980s was no longer effective but global dominance by transnational global media is still strong and worldwide. Therefore my research interest is centered on how they look international cultural exchanges with regard to cultural imperialism. And is the framework of cultural imperialism thesis still effective tool in researching and analysing international cultural flows? How do we look globalization relating to international exchanges? Is globalization an another aspect of imperialism? In conclusion, international cultural fluid is not so simple. Like natural phenomena or human progress, a phenomenon is not consisted of a single factor or relation. Cultural fluid is a complex one mixed with various phenomena and relations. This is related to internal and external contradictions, internal and external dynamics of a society and nation, and social and cultural life of human beings. Recent research results show that globalization and localization are closely related to many country's programming schedule, and particular cultural interpretation of specific programmes and culture are adopted to the country's culture and patterns. Cultural fluid has both-sides. One the hand it has useful and positive sides and on the other hand it has harmful and negative aspects. Imperialistic factor, globalization, cultural homogenization or hybrid are all operated and functioned together in cultual fluid. It is difficult to say that cultural imperialism thesis has been ended because American and global media's dominance is still effective. What needed at this time for us is a complex and dynamic analysis of international cultural fluid instead of simplistic cultural imperialism.

• Journal of Korean Home Economics Education Association
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• v.29 no.3
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• pp.125-140
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• 2017

The purpose of this study was to investigate the relationship of covert narcissism and the sense of alienation with SNS addiction proneness and the influence of them on SNS addiction proneness in order to find a way to conduct an intervention for the SNS addiction proneness of middle school students, and verify the mediating effect of self-esteem on the relationship between covert narcissism, the sense of alienation, and SNS addiction proneness. For this purpose, data were collected online from the first to third grade middle school students who had the experience of using SNS within the past one week, and finally, the data of a total of 341 participants were used for analysis. First, as a result of the analysis of the correlation between covert narcissism, the sense of alienation, self-esteem and SNS addiction proneness, covert narcissism and the sense of alienation showed a significant positive correlation with SNS addiction proneness. On the other hand, there was a significant negative correlation between self-esteem and SNS addiction proneness. Second, the investigation of the effects of covert narcissism, alienation, and self-esteem on SNS addiction proneness showed that covert narcissism, the sense of alienation, and self-esteem had a significant effect on the SNS addiction proneness. The higher the levels of covert narcissism and the sense of alienation, the higher the level of SNS addiction proneness. On the other hand, the higher the level of self-esteem, the lower the level of SNS addiction proneness. Third, the mediating effect of self-esteem was verified for the relationship of covert narcissism and the sense of alienation with SNS addiction proneness. Although covert narcissism and the sense of alienation may directly affect SNS addiction proneness, it was found that they had a significant effect on the SNS addiction proneness through self-esteem as a mediating variable. In other words, it was found that as the levels of the covert narcissism and the sense of alienation were increased, the level of the self-esteem was lowered, which led to a higher level of SNS addiction proneness. In order to form a proper network culture for adolescents, education on appropriate use of SNS that can be put into practice in everyday life should be conducted, and healthy and desirable SNS culture should be created. In addition, systematic education and management should be provided so that students can develop the ability to control and regulate themselves.

• (The) Research of the performance art and culture
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• no.42
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• pp.233-256
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• 2021

The purpose of this article is to understand the characteristics and meanings of the Hwanghae-do Gutchum, or shamanic ritual dance. First, the characteristics of the Hwanghae-do Gutchum are summarized as follows. The regular dances that appear in all pieces of Gutgeori or the tune of Gut of the Hwanghae-do Gutchum feature Geosangchum, followed by domu and heojeonmu in the sequential order. The accompaniment rhythms are Geosang rhythm, Chum rhythm, and Yeonpung rhythm. The dance featuring mugu, or shaman implements held on shaman's hand as part of the Hwanghae-do Gutchum, which symbolizes the characteristics of deities, is the same as domu aligned with the dance rhythm and the whirling dance aligned with the Yeonpung rhythm. The name of mugu, mubok (shaman clothing) and/or deities may be used as the name of Gutchum but there is no originality of Gutchum. The Beokgu Chum and Samhyeon Chum as part of the Hwanghae-do Gutchum use Beockgu Jangdan and Samhyeon Jangdan, which deserves to have their originality acknowledged. Hwanghae-do Gutchum is closely related to the rhythm. The harmony of janggu player and a female shaman is essential in practicing the Hwanghae-do Gut. If a janggu player fails to perform to properly support the gut practice of a female shaman, the shaman is not able to proceed with a smooth practice and causes confusion. On the other hand, if the gut performance of a female shaman fails to catch up with the performance of janggu, the gut becomes plain and simple at best. Janggu is the single most important element that determines the success or failure of the Hwanghae-do Gutchum. A female shaman takes the harmony and collaboration with a janggu player so seriously that she is willing to reschedule the practice of gut if its schedule does not match that of the janggu player. The Hwanghae-do Gutchum is largely dependent on gyeolrye. However, the difference between the chum and the rhythm caused by gyeolrye has disappeared due to the intangible cultural assets. That is, designating an intangible cultural asset has resulted in eliminating all distinctive characteristics of Hwanghae-do Gutchum. With the distinction of gyeolrye becoming vague, they have lost interest in the genealogy of gut they have learned. It is no longer gyeolrye but the intangible cultural property system that serves as an important factor to distinguish chums.

• (The) Research of the performance art and culture
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• no.43
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• pp.203-228
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• 2021

This thesis examines the play education method shown in the elementary school textbook 'Enjoy Play'. If the educational methods of the curriculum other than plays were presented in the order of 'Understanding play - Appreciation of Works - Creation of Works', the method of drama education is presented sequentially in the order of 'Understanding play - Creation of Works - Appreciation of Works' in the order of 'Understanding play - Artwork - Appreciation' have. Even if such a curriculum considers the study linked to the subject of 'Plays', students may not feel the 'burden' of 'creation', and by simplifying the understanding of 'spoken language', it is rather the characteristic of 'Korean language'. It may also make it difficult for students to feel the attraction. In addition, empathy through the conflict situation of the play or comparison with the actual conflict is mainly presented through the translation of foreign works or the expression of a fairy tale and fantastic world that is far from reality, so the burden of inferring the right life problems can be confirmed. Theatrical expressions and plays and plays learned through textbooks are partially different depending on the educational goals to be achieved. The result of this study is that the course of textbooks for elementary and upper grades may correspond to the problem of expressing 'Plays', but it is regrettable in leading students to think about ways to solve life problems in detail through 'Plays'. It is also necessary to emphasize the importance of expression that makes students realize how to express themselves autonomously in the way of expressing their feelings, but on the other hand, on the other hand, it is necessary to share empathy with feelings first, understand these feelings, Therefore, it was suggested that training to infer expressions and emotions by learning individual expressions through methods of expressing emotions and a process of educating students to voluntarily accept shared emotions are also necessary. Sharing and expressing emotional emotions through 'play', and participation through cooperation and division of labor through the process of performing.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.