Histone deacetylase 3 is selectively involved in L3MBTL2-mediated transcriptional repression

Yoo, Jung-Yoon,Choi, Kyung-Chul,Kang, HeeBum,Kim, Young Jun,Lee, Jeongmin,Jun, Woo Jin,Kim, Mi-Jeong,Lee, Yoo-Hyun,Lee, Ok-Hee,Yoon, Ho-Geun Elsevier 2010 FEBS letters Vol.584 No.11

<P><B>Abstract</B></P><P>This is the first report that L(3)mbt-like 2 (L3MBTL2) specifically interacts with the histone deacetylase domain of histone deacetylase 3 (HDAC3) via its MBT domain. Here, we show that L3MBTL2 selectively interacts with HDAC3, but not other class I HDACs. An in vitro peptide-binding assay demonstrated the specific association of HDAC3 with methylated histone-K20 tail and L3MBTL2. Furthermore, depletion of HDAC3 resulted in a decrease of methylated K20-H4, as well as an increase in acetylated histone H3. Consequently, HDAC3 knock-down selectively suppressed L3MBTL2-mediated transcriptional repression. Taken together, our results reveal the concerted action of both HDAC3 and L3MBTL2 in histone deacetylation and methylation-dependent transcriptional repression.</P><P><B>Structured summary</B></P><P>MINT-7719975: <I>L3MBTL2</I> (uniprotkb:Q969R5) and <I>HDAC3</I> (uniprotkb:O15379) <I>colocalize</I> (MI:0403) by <I>fluorescence microscopy</I> (MI:0416)</P><P>MINT-7719941, MINT-7719921: <I>L3MBTL2</I> (uniprotkb:Q969R5) <I>binds</I> (MI:0407) to <I>HDAC3</I> (uniprotkb:O15379) by <I>pull down</I> (MI:0096)</P><P>MINT-7719991: <I>HDAC3</I> (uniprotkb:O15379) <I>physically interacts</I> (MI:0915) with <I>L3MBTL2</I> (uniprotkb:Q969R5) by <I>anti bait coimmunoprecipitation</I> (MI:0006)</P><P>MINT-7719958: <I>L3MBTL2</I> (uniprotkb:Q969R5) <I>physically interacts</I> (MI:0915) with <I>HDAC3</I> (uniprotkb:O15379) by <I>anti tag coimmunoprecipitation</I> (MI:0007)</P><P>MINT-7719897: <I>HDAC3</I> (uniprotkb:O15379) <I>physically interacts</I> (MI:0915) with <I>L3MBTL2</I> (uniprotkb:Q969R5) by <I>two hybrid</I> (MI:0018)</P>

최승희 무용예술을 활용한 초등학교 다문화 무용교육 프로그램 개발연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2015 무용예술학연구 Vol.54 No.3

The objective of this study was to develop a multicultural dance education program for elementary school children using Choi Seung hee’s dance art. As to research methods, this study planned the lessons of the multicultural dance program applicable to elementary school children using sources retrieved from literature review and field studies. Based on Lee Sang gap’s model, the program was designed to have three stages (preparation, development, and improvement). The goals and contents of learning were organized according to the five themes presented in the preparation stage, and 10 sessions of multicultural dance education were designed. In the improvement stage, multicultural dance education expanded to 12 sessions for an effective learning.

최승희 무용예술을 활용한 중·고등학교 다문화무용교육 프로그램 개발연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2016 무용예술학연구 Vol.61 No.4

The purpose of this study was to develop a multicultural dance education program utilizing Choi Seung hee’s dance art on 34 students in a middle school and 33 students in a high school in Seoul. Based on the model by Lee Sang gab (Preparation, Development and Improvement), a multicultural dance education program was developed through literature study and field study. The multicultural dance education program was modified and supplemented by the evaluation of experts and students, and the final program was developed as 11 units for middle school and 7 units for high school.

최승희 무용예술의 다문화무용교육표준에 관한 연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2014 무용예술학연구 Vol.51 No.6

The objective of this study was to establish a multicultural dance education standard in elementary and secondary schools, using Choi Seung hee’s dance art as a teaching medium. The plan was drafted first through a specialist council, and the validity of the contents were tested through a questionnaire survey of 15 advisors. The results of this study were as follows. First, in the elementary school, the expectation level of communication in the1st the 2nd grades, the expectation level of performance and creation in the 5th and 6th grades, and the goals and expectation level of communication in the 5th and 6th grades were found inadequate. Second, in the middle school, all the goals of performance, creation, appreciation, and communication were adequate. Third, in the high school, all the goals and expectation levels of performance, creation, appreciation, and communication were adequate.

민들레 추출액 농도에 따른 민들레 코팅쌀밥의 품질에 관한 연구

유경미,이연경,김세희,황인경,이부용,김성수,홍희도,김영찬 한국조리과학회 2005 한국식품조리과학회지 Vol.21 No.1

Washed rice was coated by spraying aqueous dandelion (Taraxacum officinale) extracts at 20, 30, 40 'Brix and dried at room temperature. The coating procedure was conducted 5 mL/min for 10min. Property changes in the dandelion coated rice and un-coated cooked rice were observed during 2 days of storage. Increasing the coating concentration was associated with lower color values (L, a value) and moisture contents. Sensory and texture properties generally decreased in the cooked rice coated with dandelion more than the control (non-coated rice). But, D-20(20 °Brix of the dandelion concentration) resulted in better textural properties and s ensnry scores for hardness and overall acceptability in cooked rice. Compared to the control, the washed rice roated with 20 °Brix for 0 and 2 days showed better quality in sensory activities, a lower gel consistency and better textural activities. It was concluded that the optimum coating ration of rice and added dandelion extract for cooking were 20 °Brix and 5% respectively, in proportion to the total weight of raw rice.

한국춤에 나타난 생태여성주의(eco-feminism)성향 연구

유미희 韓國舞踊敎育學會 2002 韓國舞踊敎育學會誌 Vol.13 No.2

This study looks at the dance with the view point of eco-feminism, which combining the ecoloigcla and feministic viewpoints. In Chaper 2, this study shows the concept of eco-feminism, spirituality smelted in the concept, and the relationship between the spirituality and the body. Chapter 3 provides the inclination of eco-feminism revealed in dances in a concrete way. Focusing on Korean traditional dances, shaman dance and mask dance, in addition to Korean creative dances choreographed between 1970s and 1990s, this study examines the aspects of spirituality, represented in the themes and the characteristics of the movement. Finally this study makes reveals the essence of dance, represented by Korean traditional dances and creative dances. Eco-feminism, which began to reevaluate the values of feminine nature, focusing on the difference between men and women, rather than the equality between the two genders within the frame of male made thoughts and systems, have been pursuing spirituality, emphasizing mutality among female deity worship, gaia, body, and natural cycle. This concept is based on the idea that only after feminine value is achieved, nature liberation as well as feminine liberation is possible, and the movements of dance is a chance of conforming this in the concrete. Baridegi[Abandoned child] song in shaman dance shows the possiblity of the alteration in the actual status and roles of the feminine diety and the shaman, as well as teh power to perform it. With the existential result of getting moral sublimation and the power of overcoming death with filial piety, finally losing its power and becoming the female diety managing death, Baridegi has the characteristic of 'the great goddess' representing the feminine power, achieving self-liberartion through her own death, not self-affection, and getting self-surmounting through hardships and self-discipline, going beyond controlling fecunidity of the earth. This is to say, recovering moral inferiority and social powerlessness, given to women in real world, it has the intention of getting moral superiority and social authority even in the mythical world. Various dances of the male and female shamans after the narrative shaman songs, describe the transforming process in which the victim in the patriarchal system becomes a victor through the tragic experiences and the recovering process, the female diety undergo. This reminds and projects the original form of the great goddess, getting out of the attachment to the female character in the patriarchal system as the latent cultural symbol. One of our traditional dances, shaman dance and mask dance, having the performance format of our own, exercises the power controlling both the living and the death world, by means of connecting this world and the next world, and the god and the man in the sense of unity developed between the audiences and the performers, hereby solving human being's dicords and desires. This is also revealed in dances performed in the theater. Creative dances after 1970s emphasize the principles of feminine culture, naturehood and motherhood, concentrating on the subjects of real world. <Living as a Wild Flower in This Land:1985> by Bae Jeong-hye, <A Story of Maengga Tree Fruits:1987> by Mun Il-ji, <Wooden Stele: 1992> by Im Hak-seon, express Korean women's peculiar experiences, accusing women's hard lives. <Spring: 1995> and <Mekkot: 1996> by Gim Hyeon-ja, <Ryu-The Wood of Life: 1997> by Gang Mi-ri, <Black Songs of a White Bird: 1991> by Im Hak-seon, <Oh! Mom Laughs: 1996> by Yoen Dok-Gyeong, and <Gongmudohaga["My Lord Not Cross the River" Song]: 1998> by Kim Myong-suk present spiritual values, such as positive understanding and caring of female body, healing, and motherhood, as alternatives to escape from the social and environmental crises. The study on Korean dance in the perspective of eco-feminism in very useful to analyze the social role of the dance, a cultural phenomenon, and has the meaning in representing various viewpoints in studying Korean dance history.

한국 근대춤의 문화표현적 특성에 관한 연구 : 교방굿거리춤과 최승희춤 움직임 분석을 중심으로

유미희 韓國舞踊敎育學會 2002 韓國舞踊敎育學會誌 Vol.13 No.1

The purpose of this study is to analyze characteristics of movement in traditional Korean dance and Shinmuyong, creative Korean dance, from socio-clutural perspectives. In this research, I focus on "Gyobang gutkeori-chum(a Folk Cultural Treasure in Gyeongsang-namdo area)," which is the origin of Salpuri-chum and "Se-gaji jeontong rideum(Three Traditional Rhythms:choreographed by Choe Seung-heui)." that includes authentic movement style of Choe Seung-heui. In this research, I notate parts of these two dances in order to examine gestures of arms and the body be using Labanotation. In addition, I establish choreometrics, in order to analyze movement of upper and lower body. Furthermore, I discuss the characteristics of movement based of Space harmony theory that is used to understand spatial structures and Effort-Shape elements. According to this research, Gyeobang gutkoeri-chum contains liberal, active and flexible movement characteristics and Choe Seung-heui's dance presents light and vigorous mood. Therefore, these two dances represent idealistic image of modern Korean culture which also relate to self-awareness of Korean woman. Traditional Korean dance emphasizes fertility and inner strength of female body which was the ideal image of womanhood in traditional Korean society. On the other hand, Choe's dance represents sensibility and enchanting feminine appearance. However, distinctive quality of Korean traditional dance could be observed in Choe's dance which contains traditional movement vocabulary, repeated movement sequence, and dynamic and improvisational movement.

최승희 춤에 나타난 섹슈얼리티의 근대적 성격

유미희 韓國舞踊敎育學會 2000 韓國舞踊敎育學會誌 Vol.11 No.1

This paper deals with the issue of sexuality in relation with the social power structure. It's purpose is to disclose the social and psychological identity of modern women by analyzing the movements of Choi Seunghui's dance on the basic of the concept and character of sexuality and linking them to the made of appreciation of the audience. The results are as fellows: The feminine beauty and romantic sentiments of Choi's dance wart an expression of the image of traditional women, which occupied the minds of men and women alike as an aesthetic image of the time. With the costume of soft, thin and lustrous material, the wavering of the skirt seen in the movement of turning highlighted her feminine beauty, and her half-naked shape displayed in "Bodhisattva Dance" was an expression of her will to release the secretly oppressed sexuality by exposing the body as a symbol of femininity rather than as an object of conventional eroticism so as to overcome the physical difference of men and women seeing them within a broader framework of humanity. Especially, the androgynous look in Choi's dance was a method of expression to fuse finely the characters of men and women sharing the elements of dress of both genders beyond the fixed ideas of masculinity and femininity. For women, it was to cheese an active life as a working member of society, and for men it was to attempt a well-intentioned adventure for feminine sensitivity and beauty. The main point is that she was intercrossing the boundary of masculine and feminine styles in costume and action alike while changing her dresses, which demonstrated her flexibility for gender. Therefore, Choi's dance can be characterized as a hermaphrodite multiplex image, of which the feminine sexuality allowed all the desiring of women while compromising with the patriarchal unconsciousness . This paper is intended to present various viewpoints in the study of the history of dance by investigating the sociocultural character of modern dance, concentrating on New Dance, which is coming to the fore as one of the most important subject for discussion.

동서양 춤에 나타난 여성이미지 연구

유미희 韓國舞踊敎育學會 1999 韓國舞踊敎育學會誌 Vol.10 No.1

In this research this writer took system of sexual discrimination as one of framework for historical analysis and intended to study mode of perception on women as expressed through dances. To this end dances in festival of ancient Greece and Country Circle Dance(Ganggnag Sulrae Dance) of Korea were chosen as subject of this study and women's image as presented in mythology was studied. And then significance of dance in terms of science of women was identified by examining dance and women in mythological rituals the East and West. Result of the study revealed that dance of the Greece and Country Circle Dance recaptured primordial image of nature in memetic connection with goddess. The first image which was discovered in nature by man was feminine divinity and universe being formed with godess at its center and this was seen as man's aspiration on cyclic order of the nature. Dance in mythological rituals of the East and West were such aspiration of man and in particular acts of soaring high by powerfully sprinting upward from ground in group circle dance was mode of man's cognition aspiring for abundance through awakening vitality and spirits of the land. form of dance blended with wine and songs were common style in the mythological rituals in the East and West. Imitation of sexual motions(imitative actions) were gesture of ancient people creating it by combining mystical power of women and bodies of real world. For this reason dances in ancient time were cultural code for perceiving world and feminine principles manifested in such dances were feminine in nature such as blessing, reproduction, consideration and peace etc, and as such they may be proposed as an alternative for finding solution to contradictions prevalent in modern society.

고등급 보안 시스템을 위한 IPSec 시스템 기능 명세

유희준,김영미,최진영,서동수,노병규 고려대학교 컴퓨터과학기술연구소 2001 JOURNAL OF COMPUTER SCIENCE & ENGINEERING TECHNOLO Vol.3 No.-

현대 사회는 인터넷 사용자의 증가와 제반 기술의 비약적인 발전으로 사회활동 전반에 대한 인터넷 기반 서비스가 이루어지고 있다. 이런 과정에서 발생한 중요한 문제중의 하나가 불특정 다수가 자유로이 통신을 하기 위해 개발된 인터넷상에서 사용자의 보안을 보장해주는 것이다. 최근에 와서 인터넷상에서 개인 정보유출로 인한 많은 피해가 발생하면서 정보보호에 대한 관심이 더욱 증가하고 있다. 현재 이 문제를 해결하기 위하여 많은 보안 관련 시스템들이 개발되고 있으며, 세계 각 국의 표준 기구에서는 이러한 시스템에 대한 등급을 평가하고 있다. 각 등급을 살펴보면, 시스템 개발 초기부터 정형기법을 이용하여 개발되어진 시스템들이 고등급을 획득하고 있다. 국내에서도 한국정보보호센터(KISA)에서 보안 시스템에 대한 등급을 평가를 수행하면서 정형기법을 이용하여 땅세 검증된 시스템에게 K5이상의 고등급을 부여하고 있다. 이러한 등급을 살펴보면, 시스템의 기능을 정형명세언어를 이용해서 명세하는 부분을 공통적으로 요구하고 있다. 본 논문에서는 높은 보안 등급의 IPSec 관련 시스템을 개발하기 위해서 정형명세언어인 Z를 이용해서 IPSec의 동작을 명세하였다. The modern community is moving across the whole areas based on Internet with the growing Internet users and the great technological development. One of the important things that can be problem in this community is that the Internet should assure secure networking and security mechanism for the many security-ignorant users. Recently, Due to a lot of damages like a personal drain, security concerns is growing very rapidly. Now, many security application system is developing to solve this problem and each of the world standard organizations is evaluating these security application systems. Considering the each levels, we found that system using formal methods from the initial system development process acquired the high-level. In domestic, KISA manages the evaluation of security system and gives the higher than K5 to the system that specified and verified using formal methods. In this all levels, it should be required the system specification part. In this paper, we specified IPSec using formal specification language Z to develope the high-level IPSec system.