• Korean journal of applied entomology
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• v.41 no.3
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• pp.151-169
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• 2002

Present paper deals with 773 specimens of family Curculionidae from North Korea that preserved in Zoological Institute of Russian Academy of Sciences (ZIN) and Hungarian Museum of Natural Science (HMNH). We identified 91 species, of which 21 species are new to the fauna of Korean peninsula. Newly recorded species from Korea are as follows: Grypus mannerheimi Faust, Anoplus plantaris (Naezen), Anthonomus (Anthonomidius) dilutus Reitter, Cleopomiarus jakowlewi Faust, Sibinia annulifera Pic, Sibinia ussurica Korotyaev et Egorov, Baris scolopacea Germar, Scleropterus rubi Korotyaev, Cryptorhynchus fasciculatus (Roelofs), Shirahoshiro favonotatus (Voss), Shirahoshiro \ulcornerhiurai Morimoto, Cyriophthalmus variegatus (Motschulsky), Myllocerus (Myzzocerus) alternanus Voss, Sitona amurensis Faust, Sitona tessellatus Korotyaev, Metadonus distinguendus Boheman, Lixus (Ortholixus) amurensis Faust, Lixus (Compsozixus) ochraceus Boheman, Coniocleonus cineritus (Gyllenhal), Coniocleonus schoenherri (Gebler), and Magdaiis (Neopanus) cerasi (Linnaeus). Descriptions and photographs of newly recorded species from Korea and distribution data of 91 species are provided.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.581-595
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• 2006

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes are drawn from this study. Two types of costumes were designed for Faust. An old black shirt, grey checkered trousers, and a white gown were designed to express the old Faust, a respected scholar in his 50s, who was erudite and competent. Red checker of the shirt represented passion and blue checker of the shirt symbolized youth. The cotton trousers were beige, the most favorite color among male college students. For Mephistopheles, a white suit, black shirt, and white neck tie were designed to express the Devil, who changed his face instantly. A white suit symbolized that Mephistopheles looked like an angel, while a black shirt suggested that Mephistopheles, in reality, was the Devil. A white one-piece dress and light jade green cardigan were designed for Margarete, who was innocent and virtuous. The white dress represented innocence and purity of Margarete and the light jade green cardigan symbolized a maiden pure.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2001.07a
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• pp.207-210
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• 2001

Electrical equipment for railway is always experiencing wear and degradation by mechanical, electrical and environmental stress in service and the fault or the accident of high voltage main circuit directly causes operation interruption. Particularly propulsion drive of high speed switching inverter takes the form of specific degradation mechanism such as fast rising transient surge, reflective overvoltage and harmonic stress, and it is known that it threatens the long life and the reliability of electrical equipment. In this paper, statistics of fault and accident on main electrical equipment for railway are presented and also insulation degradation mechanism, which governs end life of electrical device, is analyzed. Finally the method of fault respondence and reliability improvement on the main electrical equipments will be reviewed in order to prevent operation interruption.

• Proceedings of The Korean Society of Agricultural and Forest Meteorology Conference
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• 2003.09a
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• pp.77-81
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• 2003

지구온난화에 따른 "춥지 않은 겨울" 현상 속에서도 온대과수의 동해발생 건수는 오히려 증가하는 기현상이 보고되고 있다 (원예연구소, 2003). 휴면중인 과수는 내동성이 매우 크지만 겨울에서 봄으로 이행하면서 점차 약해진다. 내동성이 매우 큰 사과 품종 Haralson의 경우 한 겨울에 -50도에서도 생존이 가능하지만 봄에는 치사온도가 -8도로 급상승하는데 (Faust, 1989), 그 이유는 혹한에 적응해온 추운 지역 토착품종들은 생육기간을 확보하기 위해 기온이 상승하면 바로 휴면을 깨고 생장을 시작하는 습성을 갖고 있기 때문이다.(중략) 때문이다.(중략)

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Parasites, Hosts and Diseases
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• v.24 no.1
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• pp.3-141
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• 1986

간흡충은 우리나라를 비롯하여 중국, 대만, 일본 및 월남등지에 널리 분포되어 있으며 1947년에 Stoll씨의 통계에 의하면 세계적으로 1,900만명이 넘는 감염자가 있다고 하였다. 현재 우리나라에서만 약 200만명의 간흡충 감염자가 있을 것으로 추산되고 있다. 간흡충은 McConnell이 1874년에 인도의 Calcutta에서 한 중국인의 간담도에서 본충을 처음 발견한 것이다. 이것을 Cobbold(1875)가 Distoma sinense라고 명명하였다가 후에 Looss (1907)가 Clonorchis sinensis라고 하였다. Kobayashi (1910)는 담수어가 간흡충감염의 중간숙주로 작용한다는 것을 처음으로 발견하였고 Muto (1918)에 의하여 왜우렁이가 제1중간숙주임을 발견함으로서 간흉충의 생활사가 확실해 졌다. Faust 및 Khaw (1927)에 의하여 중국에서 간흡충의 생물학 및 역학에 관한 광범한 연구업적이 발표된 이래 일본, 한국, 중국등 여러곳에서 많은 사람들에 의하여 연구되어 왔다. 그러나 적절한 치료방법이 없었고 또 민물고기를 생식하는 식습관과 위생시설의 미비등 여러가지 요인때문에 예방이 어려움에 직면하였다. 최근 다행히 새로이 개 발된 praziquantel이 간흡충중에 대하여 우수한 치료효과를 나타내고 집단치료에도 적합하다는 것이 증명됨으로서 간흡충증 예방과 관리에 큰 서광이 보이게 되었다. 따라서 간흉충증의 발생과 임상적 병증의 중요성을 좀 더 이해하기 위하여 간흡충체의 미세구조, 병인, 역학, 임상증상등 최근 알려진 새로운 지견과 우리나라에 있어서 간흡충증의 분포 및 유행지 형성 상황을 수학적으로 역학적 분석을 시도하였다. 그리고 과거 간흡충중의 화학치료에 관한 연구성적을 종합하여 화학요법제의 특성 빚 치료 적용여부에 대하여 논하였고 각약제의 시험관내 및 실험동물에 있어서의 살충효과와 임상시험에 있어서의 치료효과 및 부작용에 대하여 기술하였다. 그리고 새로 개발된 praziquantel의 간흡충에 대한 작용기전에 대하여도 논하였다. (중략)

• Koreanishche Zeitschrift fur Deutsche Sprachwissenschaft
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• v.2
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• pp.285-306
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• 2000

In der vorliegenden Arbeit wurde die Auffassung motiviert, dass es sich bei der deutschen $K\"{o}rpersprache$ in semiotischer Hinsicht um kommunikative Geste handelt. Die semio-syntaktischen, -semantischen und -pragmatischen Charakteristika dieser Geste wurden erortert. Insbesondere die ermittelten syntaktischen und semantischen Eigenschaften der $K\"{o}rpersprache\;sprechen\;f\"{u}r$ die Auffassung, dass sie in semio-syntaktischer, -semantischer und -pragmatischer Hinsicht mit Interjektionen $verkn\"{u}pfen\;k\"{o}nnen$. Beispielsweise wurde eine deutsche Geste 'Telefone handhaben' $angef\"{u}hrt$. Bei dieser Geste tritt eine deutsche vokalische Interjektion 'Klingeling' auf. Diese Geste stellt drei Ausdrucksvariationen(1- 3) und vier Bedeutungsvaritionen(A-D) dar: 1) Die Faust neben das Ohr halten, 2) Daumen neben das Ohr und Kleinfinger neb en den Mund halten und 3) Mit dem Zeigefinger var dem $K\"{o}rper$ frontal kreisen; A) Telefonieren thematisieren, B) Einen Telefonanruf aufforden, C) Zu einen Telefonanruf aufforden und D) Den Eingang eines Anrufs an zeigen. Mit Hilfe der semiotischen Gestenanalyse $k\"{o}nnen$ die deutschen $K\"{o}rpersprache$ mit Interjektionen alphabetisch geordnet werden, und die Gestenliste soll $f\"{u}r$ den DaF-Unterricht von Nutzen sein.

• The Transactions of the Korean Institute of Electrical Engineers A
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• v.51 no.4
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• pp.163-168
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• 2002

This paper present a new verb efficient numerical algorithm for arcing faults detection and fault distance estimation in transmission line. It is based on the fundamental differential equations describing the transients on a transmission line before, during and alter the fault occurrence, and on the application of the "Least Error Squares Technique"for the unknown model parameter estimation. If the arc voltage estimated is a near zero, the fault is without arc, in other words the fault is permanent fault. If the arc voltage estimated has any high value, the faust is identified as an fault, or the transient fault. In permanent faults case, fault distance estimation is necessary. This paper uses the model of the arcing fault in transmission line using ZnO arrestor and resistance to be implemented within EMTP. One purpose of this study is to build a structure for modeling of arcing fault detection and fault distance estimation algorithm using Matlab programming. In this paper, This algorithm has been designed in Graphic user interface(GUI).