• Journal of Science Education
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• v.38 no.3
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• pp.718-736
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• 2014

This study was intended to determine PCK of the middle school science teachers on Mendelian genetics and factors influenced to form their PCKs. Two science teachers with biology major with a teaching experience over 5 years were chosen as the subject. Data were collected by class observation, semi-structured interview, teacher questionnaire survey, Content Representation and Pedagogical and Professional-experience Repertoire. The collected data were analyzed based on Magnusson's PCK for science teaching consisting of five components: (a) the orientation toward teaching science, (b) the knowledge of science curriculum, (c) the knowledge of students' understanding, (d) the knowledge of assessment, and (e) the knowledge and belief in the instructional strategies to teach science. Teachers could have the orientation toward teaching science served as an assisting role to support students' abilities. Both subject teachers seemed to focus on giving lectures. Their efforts to improve students' exploration methods and abilities were not expressed enough in their real classes and they found that students struggled to understand Mendelian genetics. Therefore, they should have explained them in an easier way and worked harder to make their students understood accurately and applied basic and advanced concepts of Mendelian genetics. They found students' preconception and misconception regarding Mendelian genetics and wished to enhance their learning effects by various teaching strategies such as correcting misconception, adding the history of science and simply assessing students' affirmative domains. It was also found that factors influenced to form PCK regarding Mendelian genetics by both teachers were as follows: teacher's personality and endeavor, textbooks and guidance books, schools and their circumstances, teaching experience, experience as a learner, interaction with their colleagues, and university curriculum. Both teachers said that it was important for teachers to make every efforts to give better classes.

• Journal of Microbiology and Biotechnology
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• v.26 no.3
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• pp.596-602
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• 2016

Staphylococcus aureus, like other gram-positive pathogens, has evolved a large repertoire of virulence factors as a powerful weapon to subvert the host immune system, among which alpha-hemolysin (Hla), a secreted pore-forming cytotoxin, plays a preeminent role. We observed a concentration-dependent reduction in Hla production by S. aureus in the presence of sub-inhibitory concentrations of isorhamnetin, a flavonoid from the fruits of Hippophae rhamnoides L., which has little antibacterial activity. We further evaluate the effect of isorhamnetin on the transcription of the Hla-encoding gene hla and RNAIII, an effector molecule in the agr system. Isorhamnetin significantly down-regulated RNAIII expression and subsequently inhibited hla transcription. In a co-culture of S. aureus and lung cells, topical isorhamnetin treatment protected against S. aureus-induced cell injury. Isorhamnetin may represent a leading compound for the development of anti-virulence drugs against S. aureus infections.

• Journal of Animal Science and Technology
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• v.63 no.6
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• pp.1423-1432
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• 2021

To elucidate the role and mechanism of microbes, we combined culture-dependent and culture-independent approaches to investigate differences in gut bacterial composition between sows and weaned pigs. Under anaerobic conditions, several nonselective and selective media were used for isolation from fecal samples. All isolated bacteria were identified and classified through 16S rRNA sequencing, and the microbiota composition of the fecal samples was analyzed by metagenomics using next generation sequencing (NGS) technology. A total of 278 and 149 colonies were acquired from the sow and weaned pig fecal samples, respectively. Culturomics analysis revealed that diverse bacterial genus and species belonged to Firmicutes, Actinobacteria, Proteobacteria, and Bacteroidetes were isolated from sow and weaned pigs. When comparing culture-dependent and culture-independent analyses, 191 bacterial species and 2 archaeal bacterial species were detected through culture-independent analysis, and a total of 23 bacteria were isolated through a culture-dependent approach, of which 65% were not detected by metagenomics. In conclusion, culturomics and metagenomics should be properly combined to fully understand the intestinal microbiota, and livestock-derived microbial resources should be informed by culturomic approaches to understand and utilize the mechanism of host-microbe interactions.

• (The) Research of the performance art and culture
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• no.39
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• pp.357-392
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• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.