• Korean Journal of Soil Science and Fertilizer
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• v.36 no.3
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• pp.134-144
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• 2003

A rhizobacterium Pseudomonas cholororaphis O6 produced several secondary metabolites, such as phenazines, protease, and HCN that may be involved in inhibition of the growth of phytopathogenic fungi. In field study, P. chlororaphis O6 treatment on wheat seed suppressed root rot disease caused by Fusarium culmorum. The major organic acids of cucumber root exudates were fumaric acid, malic acid, benzoic acid, and succinic acid. Glucose and fructose were major monosaccharides in cucumber root exudates. The total amount of organic acids was ten times higher than that of the sugars. P. chlororaphis O6 grew well on cucumber root exudates. The dctA gene of P. chlororaphis O6 consisted of a 1,335 bp open reading frame with a deduced amino acid sequence of 444 residues, corresponding to a molecular size of about 47 kD and pI 8.2. The deduced dctA sequence has ten putative transmembrane domains, as expected of a membrane-embedded protein. Our results indicated that organic acids in cucumber root exudates may play an important role in providing nutrient source for root colonization of biological control bacteria, and the dctA gene of P. chlororaphis O6 may be an important bacterial trait that is involved in utilization of root exudates.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.43-107
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• 2005

A ritual ceremony accompanied by a song and dance is called as Kagura in Japan. The word Kagura is originally derived from Kamukura, which means the place where spirits reside. However, later it came to refer to the whole process of the ritual ceremony itself. Through the field studies, this paper examines Takachiho-kagura, helded in Takachiho, known as the village of myths, located in northern Miyazaki-ken in Japan. Kagura takes place all night through in each and every village in Takachiho and it normally runs from the end of November when the harvest season ends until early February the next year. One ordinary house is especially chosen for this ceremony, in which Kagura performs 33 repertoires. Takachiho-kagura is sometimes called as Yokagura, since the performance takes place over-night. A song and dance is performed by ordinary village people called hoshyadong, who inherited Takachiho-kagura. Currently, the ceremony is held in more than 20 villages and designated by the government as "Important Intangible Folk Cultural Property" in Japan. Takachiho-kagura follows the example of rituals held in Sada shrine in Izumo, which is now eastern Hiroshima-ken. It is the dance using a bell, a sword, a fan, which signify Norimono and is usually combined with mask-play called as Shinno. From the shrine of village, itwelcomes the gods who defense their village, called Ujikami and other 8 million gods, called Yaoyorozunokami, in Kagurayado, where Kagura of 33 repertoires is played in order. Kagura starts from dances for attendance of the gods, Hikomai, Daidono, Kamioroshi, performs dances of Amanoiwato, the gate of heaven's cave in Japanese myths, Dazikara, Uzume, Dotori, and continues dances for the old ghosts Shibahiki, Yatsubachi mixed with acrobatics. Finally, this performance ends with dances to send off the gods, Hinomae, Gurioroshi, Gumooroshi, until the dawn the next morning. This paper explores Takachiho-kagura from the perspective of folk performance with ethnography. These days, ecstasy and oracle do not happen in Takachiho-kagura. However, it kept the old form of folk performance as Kagura held in ordinary house. Especially, in Takachiho, remarkable venue of the Japanese myths, Takachiho-kagura is developed artistically. The first field study was held in Gokamura, Iwato-zone and Ashakabe, Mitai-zone between December 6th and December 12th 1997. Afterwards, the second field study was conducted in the area of Shiba and Ashakabe from December 17th until December 19th 1997 and from December 1st until December 10th 2000.

• Tuberculosis and Respiratory Diseases
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• v.82 no.1
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• pp.42-52
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• 2019

Background: Transforming growth factor ${\beta}$ (TGF-${\beta}$), retinoic acid (RA), p38 mitogen-activated protein kinase (MAPK), and MEK signaling play critical roles in cell differentiation, proliferation, and apoptosis. We investigated the effect of RA and the role of these signaling molecules on the phosphorylation of Smad2/3 (p-Smad2/3) induced by TGF-${\beta}1$. Methods: A549 epithelial cells and CCD-11Lu fibroblasts were incubated and stimulated with or without all-trans RA (ATRA) and TGF-${\beta}1$ and with MAPK or MEK inhibitors. The levels of p-Smad2/3 were analyzed by western blotting. For animal models, we studied three experimental mouse groups: control, bleomycin, and bleomycin+ATRA group. Changes in histopathology, lung injury score, and levels of TGF-${\beta}1$ and Smad3 were evaluated at 1 and 3 weeks. Results: When A549 cells were pre-stimulated with TGF-${\beta}1$ prior to RA treatment, RA completely inhibited the p-Smad2/3. However, when A549 cells were pre-treated with RA prior to TGF-${\beta}1$ stimulation, RA did not completely suppress the p-Smad2/3. When A549 cells were pre-treated with MAPK inhibitor, TGF-${\beta}1$ failed to phosphorylate Smad2/3. In fibroblasts, p38 MAPK inhibitor suppressed TGF-${\beta}1$-induced p-Smad2. In a bleomycin-induced lung injury mouse model, RA decreased the expression of TGF-${\beta}1$ and Smad3 at 1 and 3 weeks. Conclusion: RA had inhibitory effects on the phosphorylation of Smad induced by TGF-${\beta}1$ in vitro, and RA also decreased the expression of TGF-${\beta}1$ at 1 and 3 weeks in vivo. Furthermore, pre-treatment with a MAPK inhibitor showed a preventative effect on TGF-${\beta}1$/Smad phosphorylation in epithelial cells. As a result, a combination of RA and MAPK inhibitors may suppress the TGF-${\beta}1$-induced lung injury and fibrosis.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• Tuberculosis and Respiratory Diseases
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• v.48 no.4
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• pp.478-486
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• 2000

Background : In acute lung injury, alveolar macrophages play a pivotal role in the inflammatory process during the initiation phase and in the reconstruction and fibrosis process during the later phase. Recently, it has been proven that alveolar macrophages are constituted by morphologically, biochemically and immunologically heterogenous cell subpopulations. The possibility of alterations to these characteristics of the alveolar macrophage population during lung disease has been raised. To investigate such a possibility a hyperoxic rat lung model was made to check the distributional and morphological changes of rat alveolar macrophage subpopulation in acute hyperoxic lung injury. Method : Alveolar macrophage were lavaged from normal and hyperoxic lung injury rats and separated by discontinuous gradients of percoll. After cell counts of each density fraction were accessed, the morphomeric analysis of alveolar macrophages was performed on cytocentrifuged preparations by transmission electron micrograph. Result : 1. The total alveolar macrophage cell count significantly increased up to 24 hours after hyperoxic challenge (normal control group $171.6{\pm}24.1{\times}10^5$, 12 hour group $194.8{\pm}17.9{\times}10^5$, 24 hour group $207.6{\pm}27.1{\times}10^5$, p<0.05). oHoHH However the 48 hour group ($200.0{\pm}77.8{\times}10^5$) did not show a significant difference. 2. Alveolar septal thickness significantly increased up to 24 hours after hyperoxic challenge(normal control group $0.7{\pm}0.2{\mu}m$, 12 hour group $1.5{\pm}0.4{\mu}m$, 24 hour group $2.3{\pm}0.4{\mu}m$, p<0.05). However the 48 hour group did not show further change ($2.5{\pm}0.4{\mu}m$). Number of interstitial macrophage markedly increased at 24 hour group. 3. Hypodense fraction(fraction 1 and fraction 2) of alveolar macrophage showed a significant increase following hyperoxic challenge ($\beta=0.379$.$\beta=0.694$. p<0.05) ; however, fraction 3 was rather decreased following the hyperoxic challenge($\beta=0.815$. p<0.05), and fraction 4 showed an irregular pattern. 4. Electron microscopic observation of alveolar macrophage from each fraction revealed considerable morphologic heterogeneity. Cells of the most dense subfraction(fraction 4) were small, round, and typically highly ruffled with small membrane pseudopods. Cells of the least dense fraction (fraction 1) were large and showed irregular eccentric nucleus and high number of heterogenous inclusions. Conclusion : In conclusion, these results suggest that specific hypodense alveolar macrophage subpopulation may play a an important role in an acute hyperoxic lung injury model But further study, including biochemical and immunological function of these subpopulations, is needed.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• 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 Wetlands Research
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• v.18 no.4
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• pp.465-473
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• 2016

This study was carried out to evaluate restoration process of a few wetlands in the National Institute of Ecology (NIE). Wetlands were composed of the former rice paddies that passive restoration was led through only natural process and by creating waterway, and an ecological pond, a reservoir that restorative treatment was practiced. As the result of analysis on landscape change in the current wetland space, existing wetland in NIE was usually from the former rice field and some parts were from the residential area or forest. Change of species composition was progressed from crops or ruderals resistant to human interferences to plant species, which has removed artificially for cultivation and grow usually in the typical wetland. Both species diversity and occurrence of exotic plants were the highest when restoration project is in progress and stages after and before restoration were followed. In an ecological pond that restorative treatment was done, vegetation introduced as riparian buffer was established successfully and thereby it was expected that it could contribute to buffer environmental stress comming from the outside. Synthesized the above mentioned results, change of wetland vegetation established in NIE resembled the typical trend of early successional stage occurring in the abandoned rice paddy and consequently, it was estimated that successful restoration is under progress. Restoration under progress in an ecological pond where artificial aid in the least level was added, could be evaluated in successful as well. In particular, successful establishment of buffering vegetation, which can play diverse ecological functions, could be evaluated as significant restoration effect. But adaptive management to improve ecological quality for the section that buffering vegetation is insufficient, is required.

• Radiation Oncology Journal
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• v.19 no.2
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• pp.190-198
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• 2001

Purpose : It was reported that Captopril (angiotensin converting enzyme inhibitor) had an effect to reduce the pneumonitis and pulmonary fibrosis induced by radiation in rat. We peformed this study to investigate the radioprotective effect and mechanism of Captopril. Methods and Materials : The comparison was made between the radiation only group and the combined Captopril and radiation group by examining histopathologic findings and immunohistochemical stains $(TNF\alpha\;and\;TGF\beta1)$ at 2 and 8 weeks after irradiation. Each group has 8 to 10 rats (Sprague-Dawley). 12.5 Gy of X-ray was irradiated to the left hemithorax in a single fraction. Captopril (50 mg/kg/d) mixed with water was given per oral and continuously from 1 week prior to irradiation up to 8th week of the experiment. Result : In the combined Captopril and radiation group, the histopathologic changes which were hemorrhage into alveolar space, changes of alveolar epithelium, bronchial epithelium and blood vessels, and perivascular edema were less severe than in the radisation only group at 2 weeks. At 8 weeks, the alveolar epithelial changes and perivascular edema were less prominant in the combined Captopril and radiation group. At 2 weeks, the $TNF\alpha$ expression of the combined Captopril and radiation group was markedly decreased at the alveolar epithelium (p<0.01), lymphoid tissue (p=0.06) and the macrophage of alveolar space (p<0.01) compared with the radiation only group. Furthermore the $TGF\beta1$ expression was significantly prominant at the alveolar epithelium (p<0.02) and the macrophage in alveolar space (p<0.02). At 8 weeks, the expression of $TNF\alpha\;and\;TGF\beta1$ of most sites, except $TGF\beta1$ of the macrophage of alveolar space (p=0.09), showed no significant difference between 2 groups. Conclusion : This study revealed that early lung damage induced by irradiation was reduced with the addition of Captopril in the latent and early pneumonitis phase. The expression of $TNF\alpha\;and\;TGF\beta1$ at 2 weeks and $TGF\beta1$ at 8 weeks was further decreased in the combined Captopril and radiation group than the radiation only group. From these results, it may be concluded that the proinflammatoy cytokine $(TNF\alpha)$ and fibrogenic cytokine $(TGF\beta1)$ probably play the role of the radioprotective mechanism in Captopril.