Oral Administration of Alcohol-Tolerant Lactic Acid Bacteria Alleviates Blood Alcohol Concentration and Ethanol-Induced Liver Damage in Rodents

( Misun Yun ),( Hee Eun Jo ),( Namhee Kim ),( Hyo Kyeong Park ),( Young Seo Jang ),( Ga Hee Choi ),( Ha Eun Jo ),( Jeong Hyun Seo ),( Ji Ye Mok ),( Sang Min Park ),( Hak-jong Choi ) 한국미생물생명공학회 2024 Journal of microbiology and biotechnology Vol.34 No.4

Excessive alcohol consumption can have serious negative consequences on health, including addiction, liver damage, and other long-term effects. The causes of hangovers include dehydration, alcohol and alcohol metabolite toxicity, and nutrient deficiency due to absorption disorders. Additionally, alcohol consumption can slow reaction times, making it more difficult to rapidly respond to situations that require quick thinking. Exposure to a large amount of ethanol can also negatively affect a person’s righting reflex and balance. In this study, we evaluated the potential of lactic acid bacteria (LAB) to alleviate alcohol-induced effects and behavioral responses. Two LAB strains isolated from kimchi, Levilactobacillus brevis WiKim0168 and Leuconostoc mesenteroides WiKim0172, were selected for their ethanol tolerance and potential to alleviate hangover symptoms. Enzyme activity assays for alcohol dehydrogenase (ADH) and acetaldehyde dehydrogenase (ALDH) were then conducted to evaluate the role of these bacteria in alcohol metabolism. Through in vitro and in vivo studies, these strains were assessed for their ability to reduce blood alcohol concentrations and protect against alcohol-induced liver damage. The results indicated that these LAB strains possess significant ethanol tolerance and elevate ADH and ALDH activities. LAB administration remarkably reduced blood alcohol levels in rats after excessive alcohol consumption. Moreover, the LAB strains showed hepatoprotective effects and enhanced behavioral outcomes, highlighting their potential as probiotics for counteracting the adverse effects of alcohol consumption. These findings support the development of functional foods incorporating LAB strains that can mediate behavioral improvements following alcohol intake.

Alcohol-lowering effect of alcohol-tolerant lactic acid bacteria ingestion in rats

Misun Yun,Hyo Kyeong Park,Namhee Kim,Young Seo Jang,Hee Eun Jo,Hak-Jong Choi 한국산업식품공학회 2022 학술대회 및 심포지엄 Vol.2022 No.11

Responses to ethanol-related behaviors following administration of alcohol-tolerant lactic acid bacteria in mice

Misun Yun,Namhee Kim,Young Seo Jang,Hee Eun Jo,Choi Ga Hee,Ha Eun Jo,Hak-Jong Choi 한국산업식품공학회 2023 학술대회 및 심포지엄 Vol.2023 No.04

What Piketty Knew (But Dared Not Ask Henry James): Fin-de-Siecle American Capitalism and Queer Resistance in The Ambassadors

( Misun Yun ) 한국영미문학페미니즘학회 2017 영미문학페미니즘 Vol.25 No.1

Thomas Piketty has cited Henry James in his globally influential Capital in the Twenty-First Century (2013), arguing that he represents in his novels the social reality of nineteenth-century rentier capitalism. Drawing attention to this analysis, I raise in this paper two questions: 1) Is the historical reality of James`s America towards the turn of the twentieth century, as Piketty assumes, a variant on a similar reality in Austen and Balzac`s Europe? 2) Is realist fiction a source reservoir of economic reality per se in the given historical era? To defend fiction`s power to creatively represent social reality, and, specifically, James`s unique success in capturing the particular economic reality of fin-de-siecle America, I focus upon The Ambassadors (1903). Fredric Jameson has persistently denied James a true historical awareness, arguing that James`s falsely enlarged technique of point of view leads to an avoidance of the material reality of his time. Opposing Jameson, I argue that James`s choice to narrow the diegetic world of the novel to the limited experience of the novel`s hero, Lambert Strether, aptly represents the reality of American capitalism at the time a system which was, if we correct Piketty`s undifferentiated idea of rentier capitalism by a rigorous distinction of its phases, at that moment transforming itself from industrial capitalism to financial capitalism. Strether, who in many particulars transgresses hegemonic masculinity, provides the perfect lens for examining the complexly gendered reality of this transformation. I introduce Gustave Flaubert`s L`Education sentimentale as a model text through which we can understand how James imagined the conflict between the dominating logic of economic production and the resisting logic of cultural production in the Bourdieusian sense: though the middle-aged Strether is a loser in the practical sense, James makes him a true hero. I argue that James challenges the pervasive logic of turn-of-the-century American capitalism and its protean appropriation of established gender and social roles by proposing an alternative modernity based upon queer resistance.

The Lesson of Pater: “The Child in the House” and Narrative Portrait as a Form for Commemoration in The Portrait of a Lady

Misun Yun 19세기영어권문학회 2021 19세기 영어권 문학 Vol.25 No.1

This paper explores the neglected influence of Walter Pater on Henry James, especially the ways in which Pater’s autobiographical short story, “Imaginary Portraits, I: The Child in the House,” helped shape James’s distinct form of narrative portrait as exemplified in The Portrait of a Lady and elsewhere. While James shares with Pater the idea of narrative portrait as a form to actively invite the reader to reflect on the subject, his form is distinct from Pater’s in that it gestures towards the possibility of re-envisioning what is portrayed, through the act of reading as commemoration. In contrast, Pater’s form entices the reader to accept the portrayed vision as what has passed through time, and also as what has been subsumed in the act of reflective reading. Contrary to the common belief that he denied the dimension of the ethical in art, Pater, in his narrative portrait, embodies the vision of Bildung—the ultimate union of an individual with the world, whether it is a character in the narrative or the reader—and thereby offers a profoundly ethical vision of the aesthetic. I propose that in The Portrait James problematized precisely this German-influenced ethico-aesthetic vision of Pater: a vision which was also shared among the Macmillan circle of critics with whom James associated when he serialized the novel in Macmillan’s Magazine.

오래된 미래로서의 현대 예술

윤미선(Misun Yun) 19세기영어권문학회 2016 19세기 영어권 문학 Vol.20 No.1

In this paper I review the parallel structure of aesthetic ideas expounded in Walter Pater’s Studies in the History of the Renaissance (1873) and Jacques Rancière’s Aisthesis (2011). Significantly, Johann Joachim Winckelmann, German historian of art in classical antiquity of the 18th century, is a shared touchstone through which Pater and Rancière develop their aesthetics, a provisional end of the Renaissance for Pater and a distinct beginning of, for Rancière, what he has called the “aesthetic regime” of art. Both critical philosophers explain the importance of Winckelmann in a similar manner: Winckelmann, unlike usual classicists of his time, emphasized the dissociation of artworks from the historical contexts of their production and thus endowed art-perceivers with freedom in how to perceive them. I argue that, if read from the perspective of Rancière, Pater’s aestheticism reveals its political characteristics that defends radical democracy. If seen through the eyes of Pater, Rancière’s concept of the “aesthetic regime”, whose objective has been often misconstrued as constant innovation in the forms of art, can be clarified. My analysis will reveal that Pater and Rancière’s shared emphasis on the principle of perception and the structure of logics to endorse it results from the fact that both develop their defense of individual perception within Hegel’s historicist perspective of art. Both thinkers regard Winckelmann as a precursor to Hegel but with an emphasis upon the experience of individuals. In the Renaissance, Pater shows well that the ultimate value which the “aesthetic regime” defends in its denouncing any norm in creating and receiving art is a sense of freedom of individual being, confirmed with historical reflection.

키틀러와 데리다

윤미선(Misun Yun) 19세기영어권문학회 2019 19세기 영어권 문학 Vol.23 No.1

Friedrich Kittler, German media philosopher, argues in his Inscription Systems 1800/1900 (1985), that the long-held prestige of writing as a medium for communication was irrevocably lost during the nineteenth century; modern technical media, gramophone, film, and typewriter, were invented and spread. His argument is noteworthy for the studies of English literature as he takes Bram Stoker’s fiction Dracula (1896) as an example to reveal that historical transformation of the media environment. What I attempt in my article is to challenge Kittler from another media theoretical perspective, which I will derive from Jacques Derrida. I will focus on Derrida’s Given Time: 1. Counterfeit Money (1991) as a text to reveal his hitherto unclarified media theoretical view of literary production. I will show Derrida is a Kittlerian in that he suggests a certain historical specificity of the media conditions of Charles Baudelaire’s literature, which I name the “Inscription System 1850.” Here Derrida is concerned about the future the technical media will bring. I argue Derrida, however, unlike Kittler, is not deterministic because his idea of “arche-writing,” or différance, can be applied to any media beyond writing as a principle to effectuate their time—thus, space and world—creating role. With the theoretically clarified view of literature as media, I will reread Dracula not as a work to show the downfall of the writing’s prestige but as a work to reveal the pertinence of the arche-writing principle over different media systems. I will especially focus on the fact that Dracula was published according to the new production system of fiction established after 1895. Dracula incorporates heretofore prevalent narrative types which represent different narrative times, and thereby newly creates a ‘real-time’ narrative employing the technology of typewriter as a motif in the story and at the same time a catalyst for a new form of narrative.

19세기 영미 정기간행물 연구 : 문헌 연구에서 담론과 매체 연구로

윤미선 ( Yun Misun ) 영미문학연구회 2017 안과 밖 Vol.0 No.42

This paper offers a critical survey of scholarly studies of periodicals in the nineteenth and early twentieth centuries. Periodical publications dominated the production of literature and discourse in this period, both in America and in Britain and its colonies. This important area of long-nineteenth-century print culture, however, received scant scholarly attention until the mid-1960s. I will break down its development into three rough phases: the mid-1960s to 1970s; the 1980s and 90s; and 2000 to the present. The mid-1960s saw an urgent call for the establishment of archives of the nineteenth-century periodical, to further the historical and interdisciplinary study of literature in English. The 1970s witnessed the publication of important periodical directories. These included the invaluable Wellesley Index, which identified the legions of periodical authors who had published anonymously. The late 1980s witnessed a “theoretical turn” in archive-based periodical studies. Under the influences of Michel Foucault and Mikhail Bakhtin, the characteristics of authorship were redefined such that editors, publishers, and readers also came to be considered nodes of meaning-making that structured the discourse networks of the long-nineteenth century; and the polyphony of periodicals drew keener attention for what it revealed of conflicting social forces organized around gender, class, and race difference. At the turn of the new millennium, the global proliferation of digital media prompted a reappraisal of periodicals as a collective “genre” of print media, whose characteristic, periodical mode of production structured the rhythm of modern life. While recognizing the impetus and creative potential of the “media turn” in periodical studies, which assists in understanding the complexities of the mediation and remediation of texts, I criticize its tendency towards apolitical technologism. I propose a “thick reading” of periodical texts, relaunching the agenda of the “theoretical turn” of the 1980s, as an enriching parallel to the “thin reading” and “distant reading” that is more widely encouraged in periodical studies in the digital age.

『교외 소묘』의 리듬과 “우편적 무의식”: W. D. 하월즈의 사실주의와 1870년대 전환기의 『아틀랜틱 먼쓸리』

윤미선(Yun, Misun) 순천향대학교 인문학연구소 2019 순천향 인문과학논총 Vol.38 No.3

이 연구는 지금까지 경시되어 온 W. D. 하월즈의 여행기 『교외 소묘』를 논하는 것을 통해 미국 사실주의의 성립에 리듬 의식이 결부되어 있음에 주목한다. 삶을 구성하는 한 측면이자 소통을 위한 재현 형식의 구성적 요소 중 하나인 이 리듬은,『교외 소묘』의 경우, 특히 출판 매체였던 『아틀랜틱 먼쓸리』와의 관계 속에서 형성되었다. 본고는 그 과정을 밝힘으로써 하월즈의 사실주의는 당대의 변화하는 소통의 미디어적 조건, 즉 페니 우편 등으로 가속된 소통의 템포를 반영하는 동시에 이를 재구성하려는 “우편적 무의식”이었음을 드러낸다. This paper aims to clarify the involvement of what can be considered “rhythm” in the establishment of American realism by focusing on a hitherto neglected work by W. D. Howells, Suburban Sketches. I argue that this rhythm is both an aspect of represented life and a structuring element of the representational form. In the case of Suburban Sketches, it was primarily formed in relation to its periodical publishing medium, the Atlantic Monthly. By showing the layers of the interactions between that magazine and the text of Suburban Sketches, this study reveals that Howells’s realism was an attempt to produce an interstice for different speeds of life and communicative modes from the dominant ones which it partly affirms, too. I argue this was carried out in challenge of the changing media condition that saw the consolidation of the Penny Post and telegraph service at the turn of the 1870s.

가중나무로부터 식물생장억제물질 glycine betaine의 분리

윤미선(Misun Yun),최정섭(Jung Sup Choi),조남규(NamKyu Cho),한상섭(Sang-sub Han),김성문(Songmun Kim) 한국잡초학회 2021 Weed & Turfgrass Science Vol.10 No.4

가중나무를 2013년 전라북도 전주 인근 야산에서 수집하여 음건한 후 methanol(MeOH)로 추출하고, 감압농축건조한 추출물을 유채(Brassica napus L.)를 대상으로 in vitro에서 seed bioassay를 수행한 결과 식물생장을 50% 억제하는 식물생장억제값(GR50)은 739 μg g<SUP>-1</SUP>이었다. 식물생장을 억제하는 생리활성물질을 분리하기 위하여 MeOH 추출물을 hexane, CH₂Cl₂, EtOAc, butanol, H₂O로 순차분획하고 GR50을 조사한 결과 EtOAc 분획물의 억제효과가 가장 컸으며(561 μg g<SUP>-1</SUP>), EtOAc 분획물을 thin layer chromatography와 column chromatography로 5개의 분리물로 분리하고, 식물생장억제효과를 검정한 결과 EAC 분획물이 가장 높은 억제효과를 나타냈다(GR50 50 μg g<SUP>-1</SUP>). EAC 분리물을 gas chromatograph mass spectrometry로 분석한 결과 molecular ion (M+)이 m/z 117이고 fragmentaion은 m/z 116, 100, 72, 58이었다. EAC 분리물의 ¹H-NMR(nuclear magnetic resonance)분석결과 δ (ppm)에서 3.30 (9H, d, H-2, 3, 4), 3.85 (2H, s, H-1)에서 proteon signal을 확인하였으며, <SUP>13</SUP>C-NMR 분석결과 δ (ppm)은 52.39 (C-3, 3", 3""), 65.86 (C-2), 167.32 (C-1)에서 carbon signal을 확인하였다. GCMS, ¹H-NMR, <SUP>13</SUP>C-NMR의 분석결과 가중나무 EAC 분리물의 화학명은 1-carboxy-N,N,N-trimethyl이고, 일반명은 glycine betaine으로 확인되었다. Glycien betaie 화합물을 구입하여 유채(Brassica napus L.)를 대상으로 in vitro에서 seed bioassay를 수행한 결과 GR50값은 91 μg g<SUP>-1</SUP>으로 EAC 분리물의 GR50값과 유사하였다. Objective of this study is to discover new herbicide parent mother compound(s) from native plants in Korea. The leaves of Ailanthus altissima Swingle were collected in Jeonju, Jeollabukdo in 1995. The shade dried and powdered plant samples were extracted with methanol (MeOH). The methanol extract of A. altissima was subjected to in vitro seed bioassay on rapeseed (Brassica napus L.). The results indicated that the methanol extract significantly inhibited the germination of rapeseed with the GR50 (growth retardation 50%) value of 739 μg g<SUP>-1</SUP>. In order to isolate the bioactive substances that inhibit plant growth, the MeOH extract was sequentially fractionated with hexane, dichloromethane, ethyl acetate, butanol, and H₂O. Among them, the EtOAc fraction showed the lowest GR50 value (561 μg g<SUP>-1</SUP>) than other fractions. The EtOAc fraction was further fractionated on column chromatography, which showed 5 fractions (EAA-EAE) with good plant growth inhibitory effect. In these, the EAC fraction showed the highest inhibitory effect (GR50 at 50 μg g<SUP>-1</SUP>). The gas chromatography and mass spectrometry analysis of EAC fraction revealed that molecular ion (M<SUP>+</SUP>) was m/z 117 and fragment ions were m/z 116, 100, 72, and 58. Based on the results obtained from GC-MS, ¹H-NMR, and <SUP>13</SUP>C-NMR analyses, the EAC fraction was identified as 1-carboxy-N,N,N-trimethyl, and its common name was glycine betaine. The seed bioassay of glycine betain results revealed that the GR50 value was 91 μg g<SUP>-1</SUP>, which was comparable with the GR50 value of the EAC fraction of A. altissima.