Combined transcriptomic and proteomic analysis of flubendiamide resistance in Plutella xylostella

Li Jing‐Jing,Jin Ming‐Hui,Wang Nian‐Meng,Yu Qi‐Tong,Shang Ze‐Yu,Xue Chao‐Bin 한국곤충학회 2020 Entomological Research Vol.50 No.10

Diamondback moth (DBM), Plutella xylostella, is an important pest of crucifers worldwide. The extensive use of diamide insecticides has led to DBM resistance in the world, and this presents a serious threat to vegetable production. In the present study, transcriptomic and proteomic analyses were combined to investigate the potential flubendiamide‐resistance mechanism in DBM. The lab‐selected (Rh) and field‐collected (Rb) flubendiamide‐resistant lines of P. xylostella with resistance ratios of 1889.92‐fold and 1250.97‐fold, respectively, were used, as well as a lab‐reared flubendiamide‐susceptible line (S). Compared with the S group, the transcriptomic analysis revealed 151 upregulated and 287 downregulated gene messengers in the Rh group and 432 upregulated and 565 downregulated gene messengers in the Rb group. The most frequently enriched pathways of differentially expressed genes (DEGs) were mainly involved in metabolic pathways. Metabolism related genes, including two P450, two ABC transporters, and three trypsins, were upregulated in the Rh line. Additionally, some P450 genes, trypsin, juvenile hormone (JH), and mucin genes were also upregulated in the Rb line. In proteomic analysis comparisons with the S group, there were 78 upregulated and 90 downregulated proteins in the Rh group and 221 upregulated and 155 downregulated proteins in the Rb group. Further analyses found that three CYP and 11 CYP proteins were over‐expressed in Rh and Rb lines, respectively. Four glutathione S‐transferase (GST) and four UGTs were over‐expressed in Rb line. So, we deduced that the detoxification metabolism may be the main mechanism of flubendiamide resistance in P. xylostella.

朝鮮時期『虞註杜律』的傳入和翻印版本硏究

劉婧 ( Liu Jing ) 중국어문학회 2022 中國語文學誌 Vol.- No.81

WuZhuDuLv(虞註杜律) is a compilation of Du Fu(杜甫)’s Poems which were edited by Yu Ji(虞集) during the Yuan(元) Dynasty of China. WuZhuDuLv(虞註杜律) was first printed by Zhu Xiong(朱熊) of Xuande(宣德, 1434) in the Ming Dynasty, and re-printed by Lin Jing(林靖) during the period of Zhengtong(正統, 1443). Lin Jing’s printed edition was first introduced to Choseon during the period of Chenghua(成化). Over the next four hundred years, WuZhuDuLv(虞註杜律) was reprinted and published several times as a teaching material for the study of Du Fu(杜甫)’s poetry and other Chinese poetry, which had a great influence in Choseon, The book, WuZhuDuLv(虞註杜律) introduced into Choseon, first reprinted by QingzhouMu(淸州牧). It was a book printed from a wooden block. Later reproduced the metal types of Jiayin(甲寅) and Yunge(芸阁). There are many types of reprinted editions and there are also differences between the first and later editions. In the late Choseon, woodblock printed books of the WuZhuDuLv(虞註杜律) were printed the most. This study summarized and analyzed various editions in which the WuZhuDuLv(虞註杜律) was introduced into Choseon from the literature’s perspective. Through this fact, it is possible to understand the various situations in which Du Fu’s poems related literature was printed and distributed in Choseon. And it will be great help to study of publication and dissemination of Du Fu’s poems in the Choseon Dynasty.

Up‑regulation of miR‑27 extenuates lipopolysaccharide‑induced injury in H9c2 cells via modulating ICAM1 expression

Jing‑Fang Xiang,Jian‑Chun Yu,Jian‑You Zhu 한국유전학회 2019 Genes & Genomics Vol.41 No.12

Background MiR-27 has been found to present an overt myocardial expression during cardiogenesis. However, whether miR-27 involves in myocarditis development and the possible molecular mechanism remain unknown. The purpose of this study was to investigate the biological characteristic of miR-27 in LPS-damaged H9c2 cells. Methods H9c2 cells were treated with lipopolysaccharide (LPS, 10 μg/ml) for 12 h to form cell injury. MiR-27 mimic and inhibitor were used to up-regulate or down-regulate miR-27 expression. MTT assay and flow cytometry analysis were conducted to test cell viability and apoptosis. The relative RNA expression level of miR-27 and intercellular adhesion molecule 1 (ICAM1) was determined by qRT-PCR. Luciferase reporter gene assay was utilized to confirm the interaction between miR-27 and ICAM1. Western blot was used to determine the protein expression levels. Results We observed that LPS treatment significantly decreased the level of miR-27 in H9c2 cells. Moreover, LPS exposure suppressed cell viability, promoted cell apoptosis and increased the relative expression of p-NF-κB p65/NF-κB p65 and p-IκBα/IκBα. Up-regulation of miR-27 increased cell proliferation and reduced cell apoptosis, while down-regulation of miR-27 suppressed cell growth and promoted cell apoptosis. ICAM1 was predicted and verified as a target of miR-27, and the expression of ICAM1 is negatively regulated by miR-27. The relative expression of p-NF-κB p65/NF-κB p65 and p-IκBα/ IκBα was dramatically decreased by miR-27 mimic and increased by miR-27 inhibitor. Conclusion Our study illustrated that up-regulation of miR-27 exhibits a protective effect on LPS-damaged H9c2 cells, which may be achieved by regulating ICAM1 and NF-κB signaling.

치유환경디자인 연구 경향 -국내 선행 연구 분석을 중심으로-

담정 ( Tan¸ Jing ),신윤진 ( Shin¸ Yoon Jhin ) 한국기초조형학회 2021 기초조형학연구 Vol.22 No.4

현대인들은 건강에 점점 더 관심을 가지게 되면서 건강 회복을 돕는 치유환경도 주목을 받게 되었다. 특히 치유환경디자인 연구가 증가하는 추세다. 따라서 본 연구는 치유환경디자인 연구 경향을 살펴보기 위해 2003년부터 2020년 6월까지 한국 국내 석·박사학위논문과 국내 학술지(KCI)논문 중 치유환경디자인에 관한 논문 127편을 선정하여 데이터를 분석하였다. 연구는 치유환경의 개념과 요소 분석, 논문 개수, 연구 주제, 연구 방법, 연구 내용, 연구 범위, 연구 대상 등의 내용이 포함된다. 분석 결과를 정리하면 아래와 같다. 첫째, 치유환경디자인은 이용자의 관점에서 치유환경과 소통하는 매개체다. 즉 환경디자인을 통해 치유효과를 높이는 것이다. 치유환경은 신체적, 심리적, 사회적 요소를 포함한다. 둘째, 논문 개수는 해마다 증가하는 모습을 보여준다. 특히 2012년에는 거의 배로 급증하였다. 셋째, 초기에는 의료기관, 요양원 등과 관련된 연구가 대부분 이었으나 후반부에는 의료기관 이외의 다양한 공간에 대한 연구 논문이 증가하며, 이후 상승과 하락을 반복한다. 넷째, 사례분석에 기반한 연구 방법이 전 단계에 걸쳐 우위를 차지하고 있다. 다섯째, 연구 내용은 주로 치유환경 디자인의 건축적 공간 요소에 관한 것이다. 여섯째, 연구 범위는 병원을 중심으로 하며, 내부 공간 계획에 집중되어 있다. 일곱째, 연구 대상은 전기, 중기, 후기에 각각 다른 변화를 보인다. 치유환경디자인에 관한 연구는 과학적 근거에 기반하고, 심리적·사회적 요소에 관한 연구가 추가적으로 이루어져야 한다. As modern people become more and more interested in health, the healing environment, which helps them recover, has also drawn attention. In particular, research on healing environmental design is increasing. Therefore, this study selected 127 papers on healing environment design from 2003 to June 2020 among Korean master's and doctorate papers and Korean journal (KCI) papers to analyze the data. Research includes the concept and elemental analysis of the healing environment, the number of papers, research topics, research methods, research contents, scope of research, and subjects of research. The analysis results are as follows. First, healing environment design is a medium that communicates with the healing environment from the user's point of view. In other words, it enhances the healing effect through environmental design. The healing environment includes physical, psychological, and social factors. Second, the number of papers increases year by year. In particular, the number nearly doubled in 2012. Third, most of the research involved in medical institutions, nursing homes, etc. initially, but in the second half, research papers on a variety of spaces other than medical institutions increase, and subsequent rises and falls are repeated. Fourth, research methods based on case analysis dominate the entire stage. Fifth, the contents of the study are mainly about architectural spatial elements of healing environment design. Sixth, the scope of the study is centered on hospitals and is focused on interior space planning. Seventh, the subjects of the study show different changes in the early, mid and late periods. Research on healing environment design is based on scientific evidence, and further research on psychological and social factors should be conducted.

《诗经》英译情况研究

韩菁(Han,Jing) 조선대학교 국제문화연구원 2017 국제문화연구 Vol.10 No.1

As the first collection of Chinese poems, The Book of Songs collected poems written in about 500 years from the turn of the Shang dynasty and the Zhou dynasty to the middle of the Spring and Autumn. As the top of the Five Classics, it is not only a treasure of the traditional Chinese culture, but also the culture heritage of the world. There are 311 poems in it, which can be divided into three part Feng(Ballads), Ya(Festival Odes) and Song(Sacrificial Songs). It also adopts Fu, Bi, Xing as the technique of expression, sometimes the songs come straight to the point, and sometimes they use symbolism, all of which endow the songs sincere feelings and make them honest and unsophisticated. Being regarded as a quintessential part of our Chinese people’s culture, it has been the focus of attention from the very beginning of the Sino-Western cultural communication, and later, western missionaries and sinologists translated it into various languages. The English translation of it started in the 18 century, and it was translated into various version during over 200 years. As an important part of international cultural exchange, the Book of Songs has forcefully pushed Chinese literature known to the world.

정식 시기와 적심 횟수가 화단국화의 생장과 개화에 미치는 영향

姚婧超, 정해준, 김동찬, 이진희, 권민훈, 서병기 배재대학교 자연과학연구소 2013 自然科學論文集 Vol.24 No.1

This study was conducted to investigate optimum planting date and pinching times on the growth and flowering of garden chrysanthemum(Dendranthema grandiflorum Ramat.). 3 lines of garden mums were planted on May 16, June 13 and July 11 respectively. As planting date was delayed, all the 3 lines' plant height and plant width was reduced. 09-19-49 line got the biggest plant height and width, followed by 09-11-37 line. And 08-166-02 line was the smallest. In different planting times, the experiment group of May 16 and June 13 got the biggest plant height, plant width and stem diameter. However, in the experiment group of May 16, most of the plants got flattened. The experiment group of June 13 got the best ornamental value, and the ornamental value was reduced in the experiment group of July 11 by the short vegetative growth. 09-19-49 line got the most flowers, while in different planting time, the experiment group of May 16 got the most flowers. 09-11-37 line got the biggest flower diameter. 09-11-37 line and 09-09-51 line were planted in the containers on the rooftop. Each groups were pinched by 1, 2 and 3 times on July 2, July 26 and Aug 16 respectively. There was no effect on plant height, plant width, and stem diameter of 09-09-51 line and 09-11-37 line between 1-time-pinching group and 2-time-pinching group. But 3-time-pinching group was reduced. There was no significance in flower diameter of these two lines but the number of flowers was reduced by more pinching times. Therefore, in this experiment, the groups which were planted on June 13 got the best ornamental value and the recommended planting time is in the middle of June. Furthermore, 2 times of pinching was recommended.

Removal of Hg(II) from aquatic environments using activated carbon impregnated with humic acid

Jin, G.,Eom, Y.,Lee, T.G. Korean Society of Industrial and Engineering Chemi 2016 Journal of industrial and engineering chemistry Vol.42 No.-

The removal of Hg from aquatic environments using activated carbon (AC) impregnated with humic acid was investigated. The Hg adsorption capacity of the AC was controlled by the specific surface area and by surface functional groups, and the Hg adsorption process was exothermic and more effective at low pH. The Hg adsorption process in this study corresponds to a Lagergren pseudo-2nd-order model, indicating that it is controlled by the chemical rather than the physical properties of the AC. In addition, the equilibrium isotherm data fit the Langmuir isotherm better than the Freundlich model, indicating that the AC surfaces were uniform and that a Hg adsorbate monolayer formed at equilibrium.

20세기 실내 디자인 방향에 관한 연구 : 최근 30년간 주목할 만한 경향과 특성을 중심으로 Focus on remarkable tendency and characteristics during the last 30 years

이종희 瑞逸大學 1999 論文集 Vol.17 No.-

Thyristor에 의한 直流 分捲電動機의 速度制御에 관한 硏究

金澄龍 건국대학교 1978 論文集 Vol.7 No.1

In this experimental study, the thyristor wart employed for direct-current motor to secure an efficient speed control, and it was proved to be possible to control the speed by a simplified circuit through the speed control test with inverse electro-motive force. The results of the test were as follows : ① Erroneous operation likely to happen by reverse current failure of S.C.R. could be eliminated by the use of erroneous operation preventing circuit. ② Velocity fluctuation rate under the rated load was improved to by within 3% and 1.5% by the electrostatic Voltage Control and the static velocity control respectively. ③ The efficiency of the whole apparatus was reformed to a higher level of 80% under the rated load. on the contraroy of those favorable results, the effect by changing voltage of power source appeared to be rather severe.

複制中國書畵文物的歷史和現狀及複制工藝技術

曹靜樓,郭文林 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7

Imno(臨摹 copying) of the painting and writing in China is combined result of many closely-related elements that include Chinese cultural tradition and philosophy and substantial characteristics of Chinese paintings and calligraphy. ① Chinese rulers throughout history, under the so-called theory of 'Sungkyohuajoinlon' (成敎化助人論 to help people by educating them) often relied on paintings as a means to strengthen their governing foundation while using them to educate their subjects and people. For example, Hyojaeuisudo ≪孝子義士圖, a painting of devoted children and righteous people≫ meant the loyalty and obedience, Yulyujun ≪烈女傳, a story of virtuous women≫ was used to signify the importance of chastity in a feudal society. Paintings with such themes were met with the rulers ethics and, with the supports from the rulers, used as a means to publicize their ethics and educate their subjects and people. ② There were many rulers who were good at or loved the writing and painting in ancient China. Among many, Taizhong Li Shimin at Tang Dynasty(唐 太宗 李世民), Xianzhong Li Jiangji(玄宗 李降基), Huizhong Jo Ji at Song Dynasty (宋代 徽宗 趙佶), Xunzhong Zhu Jianshen at Ming Dynasty(明代 憲宗 朱見深), Gaozhong Hong Li at Qing Dynasty(靑代 高宗 弘力) are such examples. Development of painting and writing arts in China was achieved with the interests of rulers in them, and important eras that marked the history of Chinese painting and writing arts were created. Until the year of Huizhong(徽宗), the level of painting and writing was an important condition in deciding a governmental position. However, in ancient times, since there was a limited number of painting and writing works and lack of printing technology, emperors and high officials of literature had to be satisfied only with enjoying them and hoped to possess them. In the government, a special bureau was established to educate and raise the professionals who could duplicate the paintings and writings. This tendency influenced the society as a whole, and the atmosphere of reproduction of painting and writing works by duplication gradually culminated. ③ Chinese philosophy had also influenced their painting and writing arts. Chinese drawings pursue objectivity and has an expression style of Chuninhapil (天人合一, heaven and human beings are one). In Chinese drawings, artists describe the natural object and at the same time transfer their mind and feelings in them. Nature in the drawings is not just the nature as it is seen, but it is the nature observed and attained by artists and drawn from deep inside of artists. When people learn Chinese drawings for the first time, they are not taught how to describe the forms as in the western style but receive formative train in that people enter into the nature and sketch. This is the reason why artists, when copying the works in the past, are able to obtain the feelings of nature and learn various brush techniques that are applied in Chinese drawings. Therefore, copying is a significant method to learn Chinese drawings. For example, SunMyo(線描 line description) has a certain form, and a famous ShipPalMyo (十八描 18 descriptions) including ChulSunMyo(鐵線描), YuSaMyo (遊絲描), NanYupMyo (蘭葉描), YuYupMyo (柳葉描), JoEuiMyo (曹衣描) was created. Since these lines don't exist in natural objects, it is impossible to learn them through sketching. They can be learned only by copying the works in the past, in which they equates with various drawing styles that are applied when painting various objects. For example, JunBup(준法 technique to express the feel of the surface as it is) used for landscape drawings is helpful when expressing the touch and feelings of various rocks. For example, BuByukJun(斧劈준) or WooJumJun(雨點준) are good for expressing the characteristics of Chinese northern landscape, PiMaJun(披痲준) or MiJumJun(米點준) for Chinese southern landscape. This JunBup does not exist in natural objects such as mountain or rock, and artists can learn the right JunBup for various rocks through copying the works of the past. ④ Traditional thinking that stresses the relationship between a teacher and disciple in Chinese culture had also influenced Chinese painting and writing arts. When people beging to learn Chinese drawings, they must copy the works of their teacher. Therefore, when other people look at the drawings, they know who is with which teacher and which school. The drawings of certain artists are used as an educational purpose when students learn drawings for copying. For example, SaSaengJinBuDo ≪寫生珍禽圖≫ by Huang Jun (黃筌) in Song Dynasty was inherited to his son and learned as a work for copying. Each word in Immo(臨摹), according to the explanation in the ancient literature, has a separate meaning, Mo(摹 to copy) means Tap(榻 to copy), and Im(臨 to overlook) means Sa(寫 to write). Current meaning of Im(臨) is, while looking at the original drawing, to understand deeply and in details. When doing it, not only the techniques of brush, ink, and color but also the compositional characteristics should be thoroughly studied in order to completely familiarize with the form and line of the original drawing. And then, it has to be reproduced on another paper in one moment, and the copy does not have to be and can not be exactly the same as the original. Im(臨), based upon the complete understanding of the original, is to complete the copy with one energy without looking at the original. Mo(摹) is, while placing a thin paper right over the ancient drawing book, to copy both thick and thin lines, and Mo(摹)'s meaning in copying of a painting (摹畵) is the same. In ancient times, Mo(摹) was replaced with Mo(模 to imitate) or Mu(撫 to stroke). In other words, a transparent paper is placed over the original, the first copy is accurately made, the original is removed, drawing paper is placed over the first copy, and drawing is done in details while referring the original. Two words, Im(臨) and Mo(摹), originally impose a separate meaning and cant be one word, but they are habitually used as one word. Mo(摹) used in current China cant be Im (臨) but has to be called as Motap (摹榻). Especially, copying and counterfeiting are fundamentally different and can't be used as same meaning. The purpose of copying is a complete reproduction of energy and form of the original, and it is to conserve and actively publicize the original. The purpose of counterfeiting is to gain profits while falsely stating someone else's name as his or her own, and it includes the meaning of damaging the original. They also have difference in using the technique. The work of copying is faithful to the original and completely reproduce the smallest detail. People producing the copies must perfectly understand the spirit and form of the original, and successful copies should contain both the form and spirit. Rather, counterfeit is not based on the original but freely drawn upon studying a certain brush style of ones own. As a result, artists of counterfeit who are very well aware of the brush style used by the original artist are famous artists and might be the person who lives the same period with or the disciple of the original artist. Paintings produced for the purpose of counterfeiting possibly be the fraud and trouble to judge the authenticity of the work in a later period. Copying project of painting and writing at the Palace Museum is to replace the original work with the copied one by the time of difficulty in exhibiting the original, which is the best way to conserve the original. Copying of ancient paintings and calligraphy does not only mean the line description, outlining, coloring), or usage of ink. It is a very difficult process of re-creation that requires sincerity and efforts. Since the Palace Museum has started the copying project in 1950s, top artists are putting their efforts to copy and duplicate highly-valuable cultural artifacts. They have copied famous drawings of Qin, Tang, Song and Yuan dynasty with strict working attitude and exquisite techniques. Famous Chungmyungsanghudo≪淸明上河圖≫, Hanheejaeyayeondo ≪韓熙載夜宴圖≫, Guasukpyungwondo≪과石平遠圖≫ by Kwak Hee(郭熙), and Chunggeumdo ≪聽琴圖≫ by Jo Gil (趙佶) are such examples. Not many professionals are working for the copies in China. There were few in the Shanghai(上海) and Nanjing(南京) Museum during 1980s, but they are no longer there with various reasons. In Dunhuang(敦煌) and Xian (西安), frescoes are mainly being replicated. The quality of professionals who work to copy at the Palace Museum are the best in its technique and size and cannot be compared to other museums. Copying one painting successfully requires a lot of preparations. When producing the copies, it takes from few days to several years. Thus, safety of the original should be guaranteed, and there should not be done even a small damage. But observing the original should be convenient, and copying process should be progressed with many attentions.