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최용진,박세헌,강길모,장덕희 한국혁신학회 2017 한국혁신학회지 Vol.12 No.3
The purpose of this research is to analyze the differences in citation rate by types of author affiliation based on SCI meta data of Republic of Korea (ROK), and to elicit implications. We utilize 627,856 of SCI (Web of Science) meta data from 1984-2015 which include at least one author of organization in ROK. Our data is divided by affiliations of first authors and international collaboration. The result of empirical analysis based on descriptive statistics and regression analysis are also discussed. 이 연구의 목적은 우리나라 연구자들이 작성한 SCI급 연구논문을 대상으로 저자유형별피인용 격차를 분석하고 함의를 얻는 데 있다. 이 연구에서는 Web of Science 데이터베이스를 활용해 1984년-2015년 까지 우리나라 기관 소속 연구자들이 포함된 627,856건의 SCI 논문을 추출하여 실증분석에 활용하였다. 구체적으로 이 연구에서는 제1연구자를 기준으로소속기관 유형, 국제공동연구 여부를 기준으로 집단을 구분하고, 기술통계와 회귀분석을이용한 실증분석을 수행함으로써 분석결과를 활용한 함의를 도출하였다. 연구결과 SCI 논문에서의 양적 성장과 질적 성장 간의 괴리를 가시적으로 확인할 수 있었다. 또한 국내 기관 소속 저자들의 피인용 횟수가 해외 기관 저자들의 피인용 횟수에 비해유의미한 수준에서 낮은 것으로 나타났으며, 이러한 격차는 시간의 흐름에 따라 줄어들지않고 지속되고 있는 것으로 확인되었다. 이러한 결과는 질적 평가를 강화하고 있는 연구개발성과평가 제도의 최근 추세를 일부 지지하기도 하지만, 한편으로는 제도의 적용에 있어서보다 미시적인 접근의 필요성을 촉구하는 것으로 해석할 수 있다.
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Bacillus stearothermophilus No. 236 \beta-xylosidase 유전자 변이 Promoter의 Strength분석
최용진,김미동 한국미생물 · 생명공학회 2003 한국미생물·생명공학회지 Vol.31 No.2
Xylan 분해 균주인 Bacillus stearothermophilus No. 236 분리균의 $\beta$-xylosidase 생산 유전자(xylA)의 염기 서열 및 transcription start site를 결정한 이전 연구 결과에 의하면 xylA 유전자는 매우 특이하게 UUG codon에서 translation이 시작되며 initiation codon 15dp 윗쪽에는 promoter로 추정되는 염기 서열을 가지고 있는 것으로 분석되었다. 이와 같은 xylA 유전자 promoter region의 구조는 E. coli에 클로닝된 xalA 유전자를 이용한 실험 결과로도 확인되었다. xalA promoter의 -10 element는 CATAAT로서 6개의 염기 중 5개가 그리고 -35 element의 경우는 TTGTTA로서 6개의 염기 중 4개가 consensus sequence와 일치되었으나 두 hexamer 사이의 거리가 최적 거리에서 크게 벗어난 12 bp인 것으로 분석되었다. 본 연구에서는 $\beta$-xylosidase의 대량 생산을 위한 연구의 일환으로 xalA promoter sequence의 체계적 구조 변화에 의한 promoter strength에 미치는 효과를 E. coli와 B. subtilis두 숙주 세포에서 조사 분석해 본 결과, 첫째로 두 promoter elements사이의 거리를 최적거리인 17 bp로 바꾸었을 때 xalA의 발현율은 E. coli에서는 1.6배, B. subtilis에서는 2.5배 정도 증가함을 보여주었다. 그리고 -35 element는 consensus sequence와 같이 5'쪽에서 네번째 위치에 있는 T$\longrightarrow$A로 변이 시켰을 때 E. coli경우 2.3배, 특히 B. subtilis에서는 35배나 되는 가장 높은 promoter 활성의 증가를 보였다. 그러나 -10 sequence의 경우 consensus sequence와 같이 5' 쪽에서 첫번째 위치에 있는 C$\longrightarrow$T로 transition시켰을 때 예상외로 오히려 발현율이 5~15배까지 낮아지는 특이한 결과를 얻었다. 따라서 본 연구 결과 xalA promoter의 경우 -10 sequence인 CATAAT의 C와 -35 element의 두 염기가 promoter활성에 있어 가장 중요한 염기임을 알 수 있었다. The xylA gene of Bacillus stearothermophilus No. 236 encoding $\beta$-xylosidase was cloned and sequenced previously. The transcriptional start site of the xylA gene cloned in E. coli was identified to be the guanine (G) by primer extension analysis. This supports that the expression of xylA gene is also directed in the E. coli cells by the previously determined transcription initiation signals, -10 sequence (CATAAT) and -35 sequence (TTGTTA) separated by 12 bp. To increase the expression of $\beta$-xylosidase, firstly the spacer region of xylA promoter was extended from 12 to 17 bp, and then the -10 and -35 elements were converted into their respective consensus sequences. The mutant promoters thus obtained were tested for their activities in both the E. coli and B. subtilis host cells. The change of the length of the spacer region from 12 to 17 bp resulted in a 1.6- and 2.5-fold increase in promoter strength in comparison with the wild type promoter in E. coli and B. subtilis cells, respectively. Also, strength of the promoter with the fourth T to A transversion on its -35 element increased in the transcription level by about 35 times compared with that of wild-type promoter. However, surprisingly the 5' end C-to-T transition of the -10 hexamer showed a 5- to 15-fold reduction in $\beta$-xylosidase activity in both E. coli and B. subtilis. Together, the present data demonstrated that the 5' end nucleotide C of the -10 sequence CATAAT and the fourth nucleotide A of the -35 hexamer are two most critical nucleotides for the promoter activity in the context of the xylA promoter.
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최용진 유럽문화예술학회 2015 유럽문화예술학논집 Vol.6 No.1
Wang Keping, a wood carver, was bom at a sma1l town of Hebei Sheng around Beijing with an artistic gift from his parents in 1949. But he had to waste his high school days in a period of Great Cultural Revolution. Then he endeavored to be a writer or film star that he had wanted to be, but he suffered from pang not to select such a job by dint of his rebellious character against Communist system owing to Great Cultural Revolution. As an altemative, he began to paint according to a suggestion by a painter friend, with which he could not be also satisfied, and finally determined to be a sculptor. But whereas painting has a long history in China, sculpture does not. Thus what he sculpts for himself is rather a rational truth more or less. For other sculptors at that time had to trod a road of self-education like him. Theme of his initial sculptures was of rebellion or ridicule against political system without exemption. That is, in the initial sculptures such as Silence, Chain, Idol, Fanatic, etc., he expressed the attack towards Mao Zedong or Chinese people’s appearance suffering from Communist regime metaphorically. By the way, it ostensibly seemed to live the artists freedom of creation since Great Cultural Revolution, but virtually rather strengthened control and surveillance. Artists revoltδd against such an artistic, political establishment of Chinese govemrnent. It was a crisis of Tiananmun. The group that guided them in this protest was very ‘Xing Xing Art Group'. In a demonstration by that group members that compared themselves to an endlessly glittering star, Wang Keping was one of leading persons. They were extremely regulated by the government in the freedom of creation. With three group exhibitions, they not only exploited a road to their own autonomous growth, but guided to a road enough to create and display avant-garde art to young artists. Since then, there was a wave of liberation for a moment, but the government’s suppression was more extreme. As a result, some artists and intellectuals was sent to prison, and he searched for a political asylum with intemational marriage along with other artists. After getting married with a French lady, and defected to France, Wang Keping' s art world reached a tuming point. That is a very transition from the representation of political satire to human body, in particular, to that of pure beauty in female body. And after his defection he concentrated much concem on a medium of tree. In fact, he had showed much concem on tree from the beginning of wood carving in China, it was hard to get timber for carving owing to deforestation since the foundation of China. But the abundant timbers in France served for blooming his artistic inspiration. He began to regard tree as organic body. Thus he did not treat carelessly any of trunk, twig, growth ring, knot, etc. that each tree has. He awakened that they harmonize one another in order to create a tree, and a beaut표버 woman’s body that he wants to represent is formed by their combination. That is, he, 파‘e a Neo-platonist, believed that an idea of a beautiful woman is incamated through a material of tree. It was a reason that he implants woman’s body and tree with life, energy, germination and growth simultaneously. Wang Keping' s philosophy of art started with philanthropy. With an eyewitness that Chinese leaders exerted suppression and surveillance over people in a period of Great Cultural Revolution, his philosophy of philanthropy was germinated. It was a result of far-reaching love towards China. He searched for love towards China from not only such love towards human-being, but 려so that towards tradition of culture and art. But that love was not wide-spread nor comprehensive, rather it was only selected in accordance with his artistic idea. What he preferred to Taoism or Zen Buddhism was not to believe therr~ but to incite only parts harmonized with his own among id않 or spirit contained within them...
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