• 한국응용곤충학회지
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• 제59권4호
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• pp.371-382
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• 2020

이탈리안벌인 A, C, F계통과 코카시안벌인 D, V계통을 2005년부터 2007년까지 국내에서 수집하였다. 수집한 계통은 육종을 위해 격리된 섬에서 근친교배를 통해 순계로 분리하였다. 이 연구는 꿀, 로열젤리 다수확계통 선발에 있어 개체군 선발과 육종 효율을 높이기 위해 수행되었다. 23 개의 형태학적 특성을 평가하고 두 아종의 기존 데이터와 비교한 결과, 이탈리안벌 순계계통은 코카시안벌 순계 계통과 달리8개의 특성이 기존의 이탈리안벌과 유사해 더 많은 특성이 보존되고 있음을 알 수 있었다. 또한 국내에서 유지되고 있는 순계들은 타 지역의 동일 계통과 차이를 보여 분리된 순계의 형태적인 특징이 확인되었다.

• 비교문화연구
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• 제29권
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• pp.257-285
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• 2012

The theme of Caucasus in Russian literature stemmed from A. Pushkin's The Prisoner of the Caucasus (1820) became expended when it reached to writer Bestuzhev-Marlinsky. The writer's magnum opus, Allamat-Bek (1832), was based on a real historical event. Being proponent to the side of Russian ideology, this work strongly presents that the primary task the Russian Imperialist government paused in this region at the time was civilization of the Caucasus through diplomatic and humanistic ways. There are three main protagonists in this work, but Berkhovsky and Sultan Akhmet-Khan are the characters who stand for the contradictory views toward the "war between Russia- Caucasus." While the former, Berkhovsky, thinks that the conflict between the two parties might be solved by means of communication and cooperation, the latter, on the other hand, is opposed to any of peaceful completion of this war. Allamat-Bek, the main hero of this work, however, passes away, going back and forth between loyalty and renegation. The author goes on to describe that Berkhovsky considers the Caucasus as Eden, the land of fruits, unlike Russia which appears as the land of labor. Yet, for Berkhovsky the Caucasus is presented as the land which needs enlightenment. This is the transformation of the so-called typical Western Orientalism. Bestuzhev-Marlinsky does not take side of either evil or good between the Russian Orthodoxy and the Islam, that is the conflict between the two opponent parties. The writer, instead, argues that this is just difference between the familiar and the strange, that is, the svoi and the chuzhoi. What is the very picture the writer wants to show the reader, then, is that it is petty and sad to see the unavoidable violent progress which happened and experienced by the indigenous people during the civilization of the Caucasus by the Russian Imperialist government.

• Acta Via Serica
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• 제8권1호
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• pp.1-30
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• 2023

Traditional Kurdish weavings are among the world's most ancient living textile traditions. One of the largest regional ethnic and linguistic groups, Kurds have inhabited a significant part of Western Asia for millennia. Historically, Kurdish territories were crisscrossed by old and important trade routes, including the Silk Roads. This led to the formation of some of the most significant Kurdish artistic and cultural traditions, including textiles, which influenced and were influenced by those of other non-Kurdish ethnic groups from Caucasia to Central Asia and beyond. One example of Kurdish carpet traditions born in the eighteenth century at the cross-sections of Safavid (1501-1736) urban carpets workshops and centuries-old indigenous Kurdish tribal/rural weaves is senneh gelim or sojaee. A finely flatwoven carpet that was exchanged regionally and internationally as a diplomatic gift and a highly prized commodity. Although in decline, senneh gelims continue to be made by Kurdish women weavers in their original birthplace Sanandaj, the provincial capital of Iranian Kurdistan to date. This study adopts an inter-disciplinary approach to present an image of senneh gelim and women gelim weavers, tracing the developmental trajectories of the craft from the eighteenth century to the present time by drawing on extant art-historical and social scientific studies along with primary ethnographic data collected in Iranian Kurdistan (2018-2019). It investigates the craft tradition's historical origin, various aspects such as techniques, materials, aesthetics, functions, and meanings, and how these transformed over time. Additionally, the paper looks at the social contexts of production, focusing on women carpet weavers and how their socioeconomic and cultural situation has formed senneh carpet production in the past and present and the implications for long-term preservation.