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우리나라 가공식품중의 Clostridia perfrigens 의 분포
한옥수,조장자,권종규,서인수 대한미생물학회 1976 大韓微生物學會誌 Vol.11 No.1
A total of 100 swelled, springered or flippered canned meat and fish products were studied the degree of contamination with clostridias and serological relationships to Hobbs13$quot;heat resistant$quot; types, heat resistance of spores and susceptibility of Clostridium perfringens isolates to several antibiotics. Samples examined in this study were collected from Seoul area from June to October, 1975 and prepared in Korea. Clostridias were isolated from 46 (46%) of these samples; 19 strains of Cl. Perfringens, 9 strains of Cl. Oedematiens A, B, 5strains of Cl. Sordelli, each 3 strains of Cl. Chauvoei, Cl, oedematiens C-E, and Cl. Difficile, 2 strains of Cl. Sporogenes. The highest percentage of contamination by Cl. Perfringens was found in beef products (26. 5% ) and the following (5. 2%) in mackerel pike and none in baitop shell, whale, manna brand, and top shell. One of 19 isolates of Clostridium perfringens found in meat products was shown to produce heat resistant spores which resist 100℃ for 60 minutes and otherswere heat labile strains which is killed at 90℃ for 30 minutes. The distribution of Hobbs serotype of 19 isolates were each 4 strains of type 6, 8, and 11, 1 strain of type 13 and others untypable. 19 Strains of Cl. Perfringens were shown a marked susceptibility to cefamezin, lincomycin and minocin and relatively sensitive to vibraimycin, geopen, and chloramphenicol. A marked resistance to kanamycin, colimycin, and gentamycin were shown. Aerobic enteropathogens from samples were not recovered.
韓鈺洙 단국대학교 미소연구소 1991 미소연구 Vol.5 No.-
Since the musical art is one important arm of a cultural body, a comparison of two musical traditions should be preceded by a study on past cultural background. In this paper the development of music and its education in both USSR and USA is comparatively studied by analyzing the flow of music and musicians/teachers through good examples of individual history. Even though western music was introduced into Russia rather late, the combination of a high level of philosophical content, the poetic emotionalism, and deep understanding of the human soul of Russians brought the golden period of the romantic Russian school from later nineteenth to early twentieth century. Russian contemporary music and the art of musical performance, especially in piano and strings, continue to be the best. Since the october Revolution in 1917, however, the “Soviet realism” doctrine has isolated Soviet music from outside development to make it remain, in effect, romantically conservative. Soviet music has often been criticized to allow only prototyped musical interpretation though Soviet musicians enjoy the perfect technical skills. But it should be kept in mind that, since art is the only spiritual solace to the people in a totalitarian society, the traditional high esteem for art and pure musical soul must have been dynamically dormant in Russian minds to explode again when time comes. On the other hand, the ebbing of German music by the advent of modernism in France and the German defeat in World war Ⅰ, and the flooding migration of eminent musicians and teachers from the USSR to the USA after the Russian revolution combined to expedite America’s music development. The establishment of professional music schools modeled after Russian conservatories during this same period also lead the way for the USA to become the world music center since the Cold War and isolation of Soviet music. As the Cold War era is over now, a new golden opportunity of progress has come upon Russian music, an opportunity similar to that of a century ago. The quality of students entering , for example, the Moscow conservatory and the Juilliard School of Music is judged at the same level. So the remaining two key factors of future friendly competition between two musical traditions of the USSR and the USA will be training/education and performing activities. The strong economy of the USA will continuously cause the “Musician Drain” from Russia. However, music students will flock to Moscow for their training because Russia is still rich in the pure, natural neoromanticism, which is believed to direct the future development of music.
Studies on the Role of Disulfide in CDP-6-Deoxy-${\Delta}^{3,4}$-glucoseen Reductase(E3)
한옥수,Han, Ok-Soo 생화학분자생물학회 1993 한국생화학회지 Vol.26 No.1
$CDP-6-Deoxy-{\Delta}^{3,4}-glucoseen$ Reductase(E3)는 iodoactic acid나 DTNB에 의하여 활성도를 저해시킬 수 있었고, MADH를 사용하여 환원시킴에 따라 DTNB에 의하여 적정되는 thiol의 갯수가 증가하였다. 여러 가지 산화상태에 있는 E3의 thiol을 DTNB로 적당한 결과로 볼때, 최소한 하나의 환원 가능한 disulfide가 E3의 active-site 근처에 존재함을 알 수가 있었다. 또한 E3가 과량의 NADH에 의하여 inactivation되는 것을 관찰하였으며 이러한 결과들은 완전히 환원된 상태의 E3는 활성이 없지만 redox-active disulfide가 E3의 반응기작에 참여하는 것을 시사하고 있다. ${\Delta}^{3,4}-glucoseen$ 중간체와 같은 conjugated imine이 thiol에 의하여 환원되는 계의 화학적 모델로서 cysteine에 의한 DCPIP의 환원반응 속도를 고찰하였다. The NADH oxidase activity of $CDP-6-Deoxy-{\Delta}^{3,4}-glucoseen$ Reductase(E3) was decreased by thiol modifying agents such as iodoacetic acid or DTNB. The enzyme was reduced by NADH and the number of free thiols was gradually increased by the reduction. The titration of free thiols in E3 at various redox-stages by DTNB revealed that the enzyme contained at least one reducible disulfide near the active-site. This result, together with studies on the inactivation of E3 by excess NADH, indicates the redox-active disulfide may be involved in the catalytic cycle of E3 although the fully reduced form of the enzyme is catalytically inactive. In an attempt to establish a chemical model for the reduction of the conjugated imine such as ${\Delta}^{3,4}-glucoseen$ intermediate by thiols, kinetics of the reduction of DCPIP by cysteine was examined.