• Parasites, Hosts and Diseases
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• v.33 no.1
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• pp.27-36
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• 1995

Comparative epidemiological studies on vector reservoir animals of tsutsugamushi disease were carried out in between south coast (the highest endemic) areas and east coast flow endemicl areas in October 1993. Fauna of field rodents and their population densities were not different between two areas. Antibody positive rate of Apodemus agrarius sera was higher in east coast (43.2% in south coast and 63.6% in east coast). High correlation (r = 0.87) was shown between antibody positive rate of A. osrwiur sera and population density of the vector mites (Leptotrombidium scutellare and 1. pnllidunl). L. scutellare was predominant in south coast, showing 110.6 chigger index (74.9% of the total chiggersl , whereas L. pcllidum was predominant in east coast, showing 126.3 chigger index (60.4% of the total). As higher population density of 1. scutellare was found in south coast where the prevalence rate of tsutsugamushi disease is the highest, it is believed that L. scutellare is more important vector species than L. pallidum which may result from more frequent vector-human contact.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.6 no.1_2
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• pp.76-80
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• 1973

Cyclina sinensis is an edible bivalve inhabiting wide tidal flats which are exposed to the air at ebb tide along the western coast of Korea. Over the period of June to September 1971, some specimens from a tidal flat near Inchon were submerged in sea water with various concentrations of ammonium hydroxide added and careful observations were made on their fertilization, early development, and metamorphosis of the larvae. The highest rate of fertilization was demonstrated by individuals treated with 1/1000 normal solution of ammonium hydroxide and their fertilized eggs followed normal development, i.e., two cell stage 1.5 hours after fertilization, blastular stage after 4 hours, and trochophore stage after 6 hours. Within 24 hrs after fertilization C. sinensis larvae have acquired the form of early straight-hinge veliger with the mean prodissoconch I with the length of $110\mu$. It takes seven days to get the umbo stage with the mean shell length of $190\mu$ and twenty days to get the morphosing stage with the mean shell length of $260\mu$. The larvae were cultured to the metamorphosing stage with the shell length of $270\mu$ in the laboratory condition.

• The Journal of the Korea Contents Association
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• v.11 no.5
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• pp.216-223
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• 2011

This study aims to historically and academically shed new light on Jamu(字舞) to which there is little reference now on the basis of reference of neighboring country (China), to discover traditional unique contents by considering constituting principles, and to use these data to inherit and develop Jamu as a stage performance which is suited for the present age. The result of this study shows as follows. The first, Seongsumu was made up of the dances making 16 letters-"Seongchocheongo(聖超千古), Dotaebaekwang(道泰百王), Hwangjemannyoun(皇帝萬年), Bojomichang" - by 140 dancers. Made letters were intended to face audiences and this is similar to group gymnastics of today in the aspect and form stakes. The second, it is thought that Youngseongsomu the dance making Cheonhataepyeong(天下太平) and recorded in "Youngseongsomubo" of China is related to 'Wangmodaegamu(王母隊歌舞)' the dance making Cheonhataepyeong(天下太平) during the Moonjing rule and recorded a little in The History of Goryeo, 25 volumes (高麗史 卷25). With this study as a momentum, continuous study is needed on Korean traditional dance inherited barely today in order to develop new various contents of Korean traditional arts which are being forgotten by studying and researching related references in neighboring countries such as China and Japan.

• The Korean Journal of Malacology
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• v.20 no.1
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• pp.85-92
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• 2004

We investigated the reproductive cycle with gonadal development of the female Cyclina sinensis by histological observations and seasonal changes in biochemical components of the adductor muscle and visceral mass tissues were studied by biochemical analysis, from January to December, 2001. The reproductive cycle of this species can be classified into five successive stages: early active stage (February to April), late active stage (March to June), ripe stage (May to August), partially spawned stage (July to October) and spent/inactive stage (September to February). Total protein contents in the adductor muscle tissues reached the maximum in February (early active stage) and appeared the minimum in June (ripe stage), while their contents in the visceral mass tissues reached the maximum in the late active and ripe stages (June) and gradually decreased from July (partially spawned stage) to November (spent/inactive stage). Changes in total protein contents showed a negative correlationship between the adductor muscle and visceral mass tissues (r = -0.499, p = 0.099). Total lipid contents in the adductor muscle tissues reached the maximum in January (the inactive stages) and their contents gradually decreased from February. Their contents in the visceral mass tissues, however, reached the maximum in June (late active and ripe stage) and gradually decreased from July (the partially spawned stage). On the whole, total lipid contents showed a negative correlationship between the adductor muscle and visceral mass tissues (r = -0.631, p < 0.05). Therefore, These results indicate that the nutrient contents of the adductor muscle and visceral muscle tissues change in response to gonadal energy needs. Glycogen contents in the adductor muscle tissue reached the maximum in March (early and late active stages) and decreased from July to September (partially spawned stage). while their contents in the visceral mass tissues reached the maximum in June (late active and ripe stages) and gradually decreased from July (partially spawned stage). Thereafter, their levels gradually increased in November (spent/inactive stage). On the whole, changes in glycogen contents appeared negative correlationship between the adductor muscle and visceral mass tissues. However, they showed no significant different (r = -0.307, p = 0.331).

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.289-321
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• 1996

After the two big wars (Imjin Woeran and Byungia Horan), the Lee Dynasty confronted rapid transitional periods in almost all aspects of the society. Corruption of the governmental system by the wars and disordered social structures also caused confusion in the social position system. In addition, development of the commercial economic system and monetary economy brought up a new rich middle-class, "Joong in Gyegeup". In ideological aspects, Confucianism indulged in and stick to isms and ics, and the Confucian morality slackened, thus a more pragmatic ideology, "Silhak Sasang", developed. And the emergence of the modern literature and art of the 'common people' was followed by the appearance of the common-people class including those having the common-people concept among the noble-class "Yangban Gyegeup". This evoked a new common costume culture and the fashion appeared. The public could no longer find the power and appeal from the preexisting ruling classes due to the changed role and sense of value. Thus, they sought a new symbolic leader group that would to be the new standard of the newly changed society. That was a group of people called as "Kisaeng" liberal and independent. They were performing social activities, enjoying poetry, music and dancing, and classy dressers, having physically attractive bodies. The erotic as well as luxurious mode proposed by them reflected the trend of that time. It concurred well with the concept and taste of the public, so it was accepted with a good response. That is, by following these leaders, the public achieved their identification and tried to share the prestige of the leaders. For this reason, the Kisaeng group attracted the public attention and led the taste of the public, thereby becoming the influential fashion leaders of that age.

• The Korean Journal of Zoology
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• v.36 no.3
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• pp.408-415
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• 1993

Studies on seasonal prevalence and geographical distribution of chigger mites were carried out during the period of August 1990-December 1991, and the results are summarized as follows. From total 325 field rodents collected during the study period, 15,679 chiggers were obtained and 12 species of 4 genera were identified. Leptotrombidium pallidum, a vector species of tsutsugamushi disease in Korea was the predominant species and distributed throughout the country except southern part of Korea, whereas L. scutellare, known also as a vector species was distributed mainly in southern part of Korea. The distribution of chigger mites was strongly localized by species, showing different predominant species at each locality during the same season. The predominant species were L. pallidum(92.3%) at Dorai-5ri, Wondang-ub, Neotrombicula kwangneungensis (44.7%) at Sanjung-ri, Pochun-gun, N. tamiyai (55.1%) at Changgok-ri, Paju-gun, L. orientale (55.2%) at Jangsin-ri, Iksan-gun, and L. scutellare (47.6%) at Sinyong-dong, Iri-si. Study on seasonal prevalence of L. pallidum chiggers resulted that they started appearing in September, showed the peak in November, almost disappeared during the period of December-March, reappeared in April-May showing a small peak, and again almost disappeared until September. L. scutellare showed the peak in October, sharply decreased thereafter, and disappeared during the period of January-September.

• Korean Journal of Food Science and Technology
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• v.34 no.6
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• pp.1130-1133
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• 2002

Domoic acid, and amnesic shellfish poison, is a neurotoxin frequently found in shellfishes. Guidance level for the consumable shellfish has been established as $20\;{\mu}g$ domoic acid/g by Health and Welfare Canada and U.S. FDA. Domoic acid is produced by pennate diatom, a Nitzschia pungens f. multiseries ingested by the shellfish. Content of domoic acid in shellfish samples collected along the Korean shoreline from May to December of 1999 was analyzed. The collection included 1 Gastropoda (Murex shell) and 11 Bivalvias (oyster, little neck clam, orient hard clam, venus clam, surf clam, ark shell, hard-shelled mussel, pen shell, jack-knife clam, pink butterfly shell, and granulated ark shell). Samples were homogenized, extracted with 50% methanol, filtered, and analyzed by reversed-phase liquid chromatography at 242 nm with mobile phase consisting of 10% acetonitrile and 0.1% trifluoroacetic acid. Recovery of the HPLC analysis was 95.80% (${\pm}1.09$). All tested samples showed no domoic acid at the detection limit of 50 ng/g.

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.243-253
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• 2019

Geyonggi-geommu have developed based on the long history of Korean sword dance. Han Sung-joon, the great master of modern music and dance of Korea during the Japanese colonial period, collected and reconstructed folk dances that had disappeared or were cut off due to the policy to obliterate Korean culture through Chosun Music Dance Research Society. Since then, it has been passed down to Kang Sun-young and Kim Geun-hee that has designated as the Intangible Cultural Property No. 53. of Geyonggi-do in 2011. This study focuses on highlighting the uniqueness of Geyonggi-geommu for proper modeling and transmission of Geyonggi-geommu with historical significance so as to understand and preserve the Intangible Cultural Heritage. This study examines the transmission system of Geyonggi-geommu, followed by Kang Sun-young and Kim Geun-hee, originated by the master Han Sung-Joon of Geyonggi-geommu. Geyonggi-geommu has its uniqueness of using the pure Korean dance terminology established by the holder Kim Geun-hee at the time of designation of intangible cultural properties in Gyeonggi-do. The unique features of Geyonggi-geommu are performed and transmitted in two forms, Daemu(Group dance) and Holchum(Solo dance) which are not currently found in other regions. This is meaningful to passed down according to the original form of Geommu(Sword dance). In particular, the Holchum(Solo dance) is a form of artistic dance, showing the beauty of the sword dance during the Chosun Dynasty. In short, Gyeonggi-geommu can be described as an artistic dance with a soft and strong temperament considering its unique features.