SHOOT MERISTEMLESS is Required for the Proper Internode Patterning and the Sepal Separation in Arabidopsis

송상기,Young Bin Yun,이명민 한국식물학회 2020 Journal of Plant Biology Vol.63 No.1

SHOOT MERISTMLESS (STM) encoding a homeodomain protein plays a vital role in the specifcation of shoot meristem, the source of undiferentiated cells for the above-ground organ development in Arabidopsis thaliana. The roles of STM still remain to be elucidated as stm is defcient in the late organ development. Here, we have isolated a recessive flamentous gynoecium (fg)-1 displaying slightly reduced foral meristem and weak sepal fusion defect by introducing the 35S enhancer tag into the poltergeist-6. A truncated tag was localized at the 4628 base pairs (bps) upstream from the STM start codon in fg-1 led to the decrease in the STM transcripts. Two additional knocked-down mutant alleles, stm-p1 and stm-p3 harboring T-DNA insertions at 468 and 2225 bps upstream from the start codon, respectively displayed the pennywise (pny)-like clustered internode together with the sepal fusion defects. In stm-p1, the expression of KNOTTED-1 LIKE FROM A. THALIANA6 was enhanced and stm-p1 brevipedicelus-1 developed extremely compact internodes. The sepal fusion phenotypes of stm-p1 and stm-p3 were comparable to that of cup-shaped cotyledon1 (cuc1) and CUC1 expression was reduced in stm-p1. Together, these results suggest that STM functions genetically in association with PNY and CUC1 for the proper inforescence development and the sepal separation, respectively.

성역(Zona sagrada) : 삶과 죽음에 대한 희화적(戱畵的) 극한의 변주곡(變奏曲)

송상기 세계문학비교학회 2001 世界文學比較硏究 Vol.5 No.-

En Zona sagrada de Carlos Fuentes por debajo del nivel textual representado por la versio′n de Apolodoro de La Odisea, reside la idea del doble de la mitologi′a na′hua, el Otro en forma de animal. Arrastrado por la obsesio′n de amar a su madre, la super-estrella del cine que quiere ser immortal tanto fi′sica como simbo′licamente, el protagonista, Mito, se convierte en perro. Al final de la historia, este perro proclama, iro′nicamente, su victoria, lo que sugiere una e′tica de la convivencia con la naturaleza. Con el otro yo que permanece oculto, o con la muerte. La victoria de Mito nos sugiere la respuesta del autor frente a la e′tica posmoderna; la visio′n precolombina de la muerte y de la vida puede servir como remedio contra la paranoia de la muerte, aunque se manifieste bajo forma de un eco tan incomprensible como un aullido de un perro.

펠리페 구아만 포마 데 아얄라가 '새로운 연대기와 좋은 정부'을 통해 제안하는 스페인 연방제 속에 담긴 안데스 세계관의 투사

송상기 한국라틴아메리카학회 2008 라틴아메리카연구 Vol.21 No.1

Guaman Poma's great work, the nearly 1,200-page Primer nueva cornica y buen gobierno (The New Chronicle and Good Government), is the longest sustained critique of Spanish colonial rule produced by an indigenous subject in the entire colonial period. This extraordinary chronicle with 1200 pages with 398 drawings outlines the injustices of colonial rule. This is the only surviving text that has actual illustrations of pre-conquest Andean life and even in the depiction of colonial life. Andean icoology is insilled into the scheme of european iconology in these illustrations which demonstrate author's hidden desire that can not be told by literal texts.The Indigenous author argues that the actual Encomienda system has so many negative effects that the whole population of indigenous people will be diminished drastically. His claim for Spanish federal world system with autonomous local ruling system was buried into the stacks of Spanish Royal Library and now Royal Danish Library. But the way how Guaman Poma reinterprets global design with Andean angle and calls for its reformation. reminds us of interaction of local histories can alter the location of global design.

새마을운동의 좌표 도시 새마을운동의 전개방안

송상기 대한지방행정공제회 1973 地方行政 Vol.22 No.235

N/A

메소아메리카의 미학

송상기 한국라틴아메리카학회 2000 라틴아메리카연구 Vol.13 No.1

카를로스 데 시구엔사 이 공고라의 『알론소 라미레스의 불행』에 나타나는 바로크적 주체로서의 크리오요

송상기 한국외국어대학교 외국문학연구소 2013 외국문학연구 Vol.- No.49

본고는 호세 레사마 리마가 바로크적 호기심을 대변하는 대가라고 칭한 카를로스 데 시구엔사 이 공고라의 가장 알려진 산문인 『알론소 라미레스의 불행 Los Infortunios de Alonso Ramírez』을 분석하며 작품에 나타난 크리오요의 사회적 주체 형성과정과 스페인 제국을 바라보는 식민주체의 바로크적인 양가적 감정이 드러나는 양상을 고찰한다. 푸에르토리코 출신의 알론소 라미레스가 사회적 인정과 경제적 부를 얻기 위해 누에바 에스파냐로 갔다가 만족할 만한 일자리를 얻지 못하고 가정을 잃은 후 제국으로부터 존재가치를 인정받지 못했다고 판단한다. 이러한 정신 공항 상태에서 그는 자기재판을 통해 필리핀으로 유배를 떠나서 해상교역을 하다가 영국해적들에게 잡혀 포로생활을 하며 제국의 외부에서 노예생활을 하다가 자유와 부를 얻고 다시 제국의 인정을 받는 되는데 이러한 과정은 스페인의 피카레스크 문학과 조난문학의 패턴을 따르는 것이라고 볼 수 있다. 이러한 문학적 외피에도 불구하고 이 텍스트는 엄연한 역사적 실존인물의 준자전적 증언기록이자 부왕의 정치적 목적으로 편찬된 증언보고서적 성격을 지닌다. 필경사 역할을 했다고 자임한 시구엔사 이 공고라는 알론소의 조난의 여정에 대한 글쓰기과정에서 크리오요로서의 자기주체화 과정을 발견하고, 아메리카적 주체라는 연대감을 증언자로부터 느끼며, 라틴아메리카적 사회주체 형성의 첫 단초를 제공하는 역사성을 발견한다. 제국의 지배와 자본주의적 근대성의 태동기에서 이러한 체제를 받아들이되 그 체제의 작동방식에 대한 의문을 드러내고 새로운 저항적 주체성을 은밀히 드러낸다는 점에서 알론소의 증언을 통해 시구엔사 이 공고라를 통해 매개되는 『알론소 라미레스의 불행』은 신대륙의 독특한 바로크적 에토스를 표상한다고 볼 수 있다. This paper seeks to analyze the development of Baroque subjectivity as Spanish American Criollo in Infortunios de Alonso Ramírez, the most renowned text of so called Baroque Savant, Carlos de Sigüenza y Góngora. Alonso Ramírez, born in San Juan, Puerto Rico, goes to Nueva España to seek for affluent life and social recognition. His peregrination to get better job turns out to be total failure not getting any stable joband losing his family. By way of peculiar self-tribunal he penalize himself to exile in Philippines. There he works as mercantile mariner but he is taken captive by English pirates. This captivity can be viewed as a rite of transnational passage because there he encounters the outside of Spanish Empire in the era of transition of Modern World-Systems. The pirates eventually free Alonso and leave him a boat filled with goods. And after returning to Nueva España, with these goods, he acquires long waited legitimization from the Empire. Sigüenza y Góngora, as a scripter of testimonial Relación, considers Alonso's identity as nascent criollo consciousness and he alludes the historicity that provides the crucial formation of social subject as a Latin American. In the development of New World identities, Sigüenza's writing has a peculiar meaning to question what it means to be criollo as colonial being in Spanish Empire. Although criollo internalizes the goals of Imperial society, legitimate means toward these goals are closed off. Through this testimonial alliance between Alonso Ramírez and Sigüenza y Góngora, a creole discourse emerges. This discourse is based on Baroque Ethos which questions and dominance of the Spanish Empire and testimonies with great preoccupation with the emergence of global commerce with its fascinating feature and dark shadow.

The Foundation of Latin American Literature and its Emergence in World Literature

송상기 고려대학교 스페인 라틴아메리카 연구소 2012 스페인라틴아메리카연구 Vol.5 No.2

The obsession to found new imaginary to Latin American reality and sense of rootlessness bestowed Latin American masters of narratives sense of freedom that traverse imaginary pampa, llano and precolombian ruins without any anxiety of influence of precursor. This essay delves into the relationship of foundation of Latin American literature with the emergence of Latin American literature in World Literature. The crossroads of diachronic literary currents of Latin America with synchronic World Republic of Letters will coordinate the topology of its literature in World Literature. There are few Western writers that encompass from the genetic origin of Civilizations to apocalyptic sense of an end. Borges and Paz along with García Márquez are questioning the origin of their being at the edge of the West. The literature of the West is one in which major questions must be assumed to have been solved. The characteristic feature of Latin American masters that differentiate with European writers is their obsession of total history. They share the anxiety of beginning along with anxiety of influence. The sense of up-rootness always goes with new foundation for something whether it is positive or negative in any Latin American fables. And they yearn for the revelation of total history whether it is Macondo as in case of García Márquez, poetic revelation searching for the eternal present as in case of Octavio Paz, or fantastic region like Uqbar with different metaphysical structure that differs from modern world as in case of Borges. This self-referent notion about their own history and geo-political consciousness as being at the edge in narrative and meta-poetics found new Latin American literary canon to mobilize the ground zero of Capital of World Republic of Letters. These local histories from the geo-political periphery change the global design of World Literature.

민족학자의 저항과 책의 상징성 : 보르헤스의 " 민족학자 " 와 빠네의 " 인디오들의 옛 문물에 대한 보고서 " 를 중심으로

송상기 한국서어서문학회 1998 스페인어문학 Vol.13 No.1

El corpus principal de este trabajo consta de $quot;El etno′grafo$quot; en Elogio de la sombre (1969) de Jorge Luis Borges y Relacio′n acerca de las antigu¨edades de los indios (1498) de Fray Ramo′n Pane′. Aunque estos textos difieren del diferente ambiente histo′rico, tienen la coinadencia tema′tica que ambos tratan de la posicio′n de un etno′grafo que tiene que escribir su libro. Fred Murdock, el protagonista en el texto de Borges vive con los indios del oeste para investigar las creencias de los indios y el rito secreto del mago por la recomendacio′n del profesor. Pane′, por el mandado de Cristobal Colo′n, eseribe lo que ha podido saber y entender de las creencias e idola′tiras de los tai′nos. Aqui′, los te′rminos como $quot;mago$quot; y $quot;idolati′ras$quot; invocan el imperialismo cultural. Ambos textos figuran el conflicto, la desesperanza y la resistencia del etno′girafo ante el colonialismo cultural de la institucin poli′tica y acade′mica. Mi proyecto de este trabajo es analizar el mecanismo de la resistencia y su modo de escritura como el libro como un si′mbolo, la teori′a de Ernst Robert Curtius, en el contexto histo′rico y textual del corpus. En el caso de Murdock, despues de deacifrar el suen~o de si′ mismo que es ide′ntico al del sabio, se da cuenta de que la verdad que e′l aprendio′ en la pradera se aplica tambie′n a la vida moderna. Y sintiendo que esta experiencia no se puede interpreter en el esquema cienti′fico del occidente, niega el mandado de la academi′a de que publicara la tesis. Murdock, que nego′ la carrera como un etno′grafo, trabaja como un biblitecario de la Universidad de Yale y asi′ termina el texto misterioso de Borges. Este fin es una sorpresa al lector porque la biblioteca es una cuna de la ciencia occidental. Pero, si es un proceso que busca otro discurso que se ha enterrado por el discurso dominante del occidente, y si es un proceso de la bu′squeda de otro Murdock del pasado, la vida misteriosa de Murdock o su peregrinacio′n podri′a recobrar una uniformidad. El texto que este Murdock podi′ra buscar es el libro de Pan. Este texto se ha enterrado por unos siglos y se fue recuperado y revalorado por el profesor cubano de Yale, Jose′ Juan Arrom. En este texto, hay un conflicto entre el sujeto como un padre cristiano y el sujeto como un etno′grafo dentro de la subjetividad de Pane′. Al fin, Pane′ escribe como le hen dicho los ta′inos sin redaccio′n por el punto de vista del catolicismo. Por eso, es el primer texto revolucionario en el Nuevo Mundo. Este texto que tiembla la rai′z de la lo′gica de la empresa colonial, se considera como un texto fundamental que funda la historia del Nuevo Mundo con otras cro′nicas principales.

[전문대학 소개] 순천제일대학 차량기계과 소개

송상기 한국자동차공학회 2000 오토저널 Vol.22 No.1

El significado de hechicería gótica en Aura de Carlos Fuentes en la lectura antiweberiana

송상기 고려대학교 스페인 라틴아메리카 연구소 2020 스페인라틴아메리카연구 Vol.13 No.2

This article delves into an anti-Weberian reading of Aura by Carlos Fuentes to question the rationalization of the world, that is, modernity itself. Max Weber identified the process of modernization as the rationalization that requires a series of evacuation of the cult of all kinds of magic and heresy. In Aura, Consuelo is a character who exercises black magic to regain youth and love. It is a painful exercise to carry out as if an artist concretizes his illusion of art. This exercise requires a fetishism of the world of magic and fantasy that are counter-currents of modernity based on un-fetishism, which is, in other word, rationalization. The contrast between the pre-modern world and the modern one makes Carlos Fuentes follow the tradition of the Gothic novel. The voice that appeals to Felipe and also to the reader is intoxicated by the mysterious atmosphere of the mansion, the fatal attraction of Aura and the sorcery of Consuelo. Felipe is learning about the old witch's past by reading Llorente's memoirs and he sympathizes with the old woman until he reaches the horror of the end that Felipe makes love with Aura/Consuelo. This inversion of the narrative thread and the perversion of the main characters are the typical characteristics of the fantastic narrative. Thus the Gothic genre and the fantastic come together at the end. Consuelo's gothic house is not a mere refuge within modern buildings but rather a flowing bosom that emanates Consuelo's ghostly sorcery that conspires a liquid world in the sense of liquid modernity that Zygmunt Bauman sets against solid modernity, in other words, the modernity that dominates the puritan and capitalist spirit. It is not a simple reaction of the Gothic genre towards industrialized modernity but, at the time of the advent of liquid modernity, at the moment of deregulation and the flexibilization of the market and of ethos, in multi-temporal heterogeneity, gives us a guideline and a reflection of human conditions. Here lies the meaning of Gothic sorcery in our time. Este artículo profundiza en una lectura antiweberiana de Aura de Carlos Fuentes para cuestionar la racionalización del mundo, es decir, la modernidad misma. Max Weber identificó el proceso de modernización como la racionalización que requiere una serie de evacuación del culto a todo tipo de magia y herejía. En Aura, Consuelo es un personaje que ejerce magia negra para recuperar la juventud y el amor. Es un ejercicio doloroso de realizar como si un artista concretara su ilusión de arte. Este ejercicio requiere un fetichismo del mundo de la magia y la fantasía que son contracorrientes de la modernidad basadas en el desfetichismo, que es, en otra palabra, la racionalización. El contraste entre el mundo premoderno y el moderno hace que Carlos Fuentes siga la tradición de la novela gótica. La voz que atrae a Felipe y también al lector está embriagada por la atmósfera misteriosa de la mansión, la atracción fatal de Aura y la hechicería de Consuelo. Felipe va conociendo el pasado de la bruja vieja leyendo las memorias de Llorente y simpatiza con la anciana hasta que llega al horror del final en que Felipe hace el amor con Aura/Consuelo. Esta inversión del hilo narrativo y la perversión de los protagonistas son las características típicas de la narrativa fantástica. Así, el género gótico y lo fantástico se unen al final. La casa gótica de Consuelo no es un mero refugio dentro de edificios modernos, sino un seno fluido que emana la brujería fantasmal de Consuelo que conspira un mundo líquido en el sentido de modernidad líquida que Zygmunt Bauman contrapone a la modernidad sólida, es decir, la modernidad que domina lo puritano y espíritu capitalista. No es una simple reacción del género gótico hacia la modernidad industrializada sino que, en el momento del advenimiento de la modernidad líquida, en el momento de la desregulación y la flexibilización del mercado y del ethos, en la heterogeneidad multitemporal, nos da una pauta y un reflejo de las condiciones humanas. Aquí radica el significado de la brujería gótica en nuestro tiempo.