• 한국균학회지
• /
• 제48권3호
• /
• pp.197-207
• /
• 2020

In the screening of fungal diversity, two strains were collected from the soil of Yeongcheon and dissected guts from the bodies of Chinese rice grasshopper (Oxya chinensis), Chinese grasshopper (Acrida cinerea), and Far eastern devil grasshopper (Oedaleus infernalis) from Daejeon in Korea. They were identified as Umbelopsis vinacea (KNU-YC-1801B) and Mucor hiemalis f. corticola (KNU-20F7, KNU-20F8, KNU-20F9). Multigene phylogenetic analyses of the internal transcribed spacer (ITS) regions, and large subunit (LSU) sequence data confirmed two unreported taxa along with their morphology. The results of molecular phylogeny firmly supported the detailed description and illustration for each taxon. As far as we know, both Umbelopsis vinacea and Mucor hiemalis f. corticola are the first reported taxa in Korea.

• 한국어류학회지
• /
• 제1권1_2호
• /
• pp.1-8
• /
• 1989

1989년(年) 8월(月), 경남(慶南) 진해만(鎭海灣), 자란만(紫蘭灣)에서 채포(採捕)된 성숙한 친어(親魚)를 사용한 수조내(水槽內)에서의 쑤기미의 난발생(卵發生) 및 부화자어(孵化仔魚)의 형태(形態)에 대한 관찰(觀察) 결과(結果)를 요약하면 다음과 같다. 1. 수정난(受精卵)은 직경이 1.2~1.3 mm인 분리부성난(分離浮性卵)으로, 유구(油球)가 없다. 수온(水溫) $24.9{\sim}26.5^{\circ}C$에서 E+26~29시간만에 부화하였다. 2. 부화직후(孵化直後) 자어(仔魚)는 전장(全長)이 2.47~3.10 mm였으며, 입과 항문(肛門)이 열리지 않으며, 몸 전체에 황색소포(黃色素胞)가 산재하여 있고, 난황(卵黃)을 위로하여 떠있다. 근절수(筋節數)는 13+16~17=29~30개였다. 3. 부화(孵化) 후(後) 2일째 전장(全長) 3.61~4.16 mm의 자어(仔魚)는 가슴지느러미가 부채형으로 크게 발달하여, 그 위에 3~4개의 커다란 흑색반점(黑色斑點)이 나타났다. 4. 부화(孵化) 3일째 전장(全長) 3.97~4.29 mm의 자어(仔魚)는 난황(卵黃)을 완전히 흡수하였으며, 가슴지느러미 줄기가 4~5개 발달하였다. 5. 부화(孵化) 6일째 자어(仔魚)는 전장(全長)이 4.07~5.46 mm 범위이며, 가슴지느러미에 11개의 줄기가 발달하였고, 흑색반점(黑色斑點)은 줄기끝부분에서 8~9개로 증가하였다.

• 복식
• /
• 제52권4호
• /
• pp.111-123
• /
• 2002

The purpose of this study is to correctly understand the shaping process of Mongolian women's costumes, which had close connection with Korean costumes. 'Nomadic' factors of Mongol costumes are trousers and jacket, with deel(袍) pleated in the waistline for horse riding, and knee-covering narrow-sleeved long dress for men and women alike for protection against the cold. However, Married women wore bogthag(gogo: ) containing symbols derived from nomadic way of life. 'Foreign' factors are divided into two kinds; foreign culture applied to Mongolian costumes(woven stuff, Koryo style), and transformation in costumes to adjust to the environmental alteration owing to extended territory(pigap(比甲), Jacket and skirt), the last of which served as the chief distinction between nomadic and Y an fashions. 'Religious' factors are unique patterns and colors while retaining their symbolism. Some aspects(mongke tengri or eternal sky) of Shamanism is reflected in avoidance of washing, while positive effect of Lamanism is evidenced in yellow cosmetic applied on the forehead and 16 sky devil dance clothes.dance clothes.

• 아동학회지
• /
• 제7권1호
• /
• pp.25-47
• /
• 1986

The present research is a study of the feared objects of children between 7 and 12 years of age. The data consisted of the replies to a questionnaire by 802 children and their mothers in Chun Chon City and Chunsung and Wonsung Counties plus. The questionnaire was divided into parts: 6 questions were designed to be answered by the children and 22 by their mothers. The children were asked about their feared objects, feared places, and feared colors, whereas their mothers about their own feared objects plus the backgrounds of their children's fear-objects. Frequency, percentage, and $X^2$-test were applied to the statistical analysis. The results were as follows: 1. Ghost (Kuishin), Devil (Toggaebi), and animals turned out to be the main feared objects of children. 2. Children's feared objects were same regardless of differentiating ages and regional backgrounds. Sex was the only factor which caused any differences. Girls were more sensitive to the animals as their feared objects. 3. Red and black proved to be the most frequently feared colors for all children. 4. Children's feared objects were influenced by the feared objects of their parents, grand parents and sisters and brothers. 5. Children's feared objects were related to the fairy tales and stories they have been told by their mothers.

• 복식
• /
• 제51권8호
• /
• pp.141-157
• /
• 2001

It has been since 15 century when Ainu realized themselves as a race. Their folk culture had been formed with the effect of East-northern Asia and cultural exchange with Japanese through the northern trade during 17 -18 centuries. It can be ascertained from the typical festival food and clothing. clothing style and the ornaments of Ainu people. The basics of Ainu people are composed of an unfolding clothes which men and women had wort in one-piece style even though they had lived in the northernmost cold climate. Atousi is their typical clothing which had been made of the grass fiber. Ainu people had imported the old cotton clothes from the trading with the mainland roughly in the late E-do (late 18 century). Ainu's clothing is divided broadly into Aiusi and Moreu pattern. Ainu people had decorated their back, shoulder, collar, burial clothes, waist and hem by changing and mixing them. These are the expression of their desire to prevent themselves from the wicked plot or the devil. There is no similar Ainu patterns or skill in Kimono, while it is known to be rather related to the area of Amur River, Sakhalin, and the distant Mongolia. Therefore, the traditional pattern of Ainu should be the continental conception which had been skilfully shaped through the trading with the north adding the series of Ainu People.

• 한국의류산업학회지
• /
• 제11권2호
• /
• pp.219-230
• /
• 2009

The purpose of this paper is to study characters' make-up coordination that changes the narrative of the fantasy movies to a visual fantasy, especially it focuses on the post-modern features from the works of Tim Burton, a post-modernist. The contents of the study are, firstly, studying post-modernism that influenced the works of Tim Burton, secondly, researching (1988), (1989), (1990), (1992), (2003) and (2005) and their main characters' make-up design. Thirdly, analyzing the otherness and plural-code that are the post-modern characteristics expressed on characters' make-up coordination of fantasy movies. The otherness means the division of the middle and the surroundings and the rise of the outsiders. Fantasy characters that scares off human such as ghosts, aliens, apes, kidults, mutations, man-made men are in the middle. The plural-code takes the symbolic and pluralistic dimension in to the movie, mixes the sign system, and which natural and supernatural system cross over. In the movies, Beetle Juice who was both ghost and devil expresses life and death, Bat man, Cat woman, Penguin man expresses human and animal, and Edward means human and inhuman. Willy Wonka's makeup makes him look younger, but his grown-up-like clothes show doubleness. For that matter, make-up coordination is the mirror of reflection of period and human being's inner life.