• Monthly Newsletter
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• no.211
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• pp.3-3
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• 2005

• Journal of Digital Convergence
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• v.12 no.3
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• pp.399-414
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• 2014

The Princess Bari, an epic song passed down orally among the korean shamans, describes the process of its heroine's becoming a shaman. The life of a shaman coincides with the image of Mother Goddess that created human beings in that her role was to connect the life here and hereafter in Korea. Princess Bari, an abandoned daughter, experiences the world of death, sacrifices herself completely for her parents, devotes to her husband and gives birth to seven sons. She is a Mother Goddess who embraces fecundity and fertility, creation and destruction, and life and death. Furthermore, she is a "warm-hearted Mother Goddess" who takes the deceased to their last journey with maternal care. The number "seven", known to be a very significant number in human lives and the world after death, symbolizes how princess Bari had to be born as the seventh girl of her parents, not as the fifth or the sixth.

• Parasites, Hosts and Diseases
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• v.36 no.3
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• pp.163-170
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• 1998

An epidemiological survey was performed to know the infection status of oysters with Gwmnophclloides seoi metacercariae in 7 islands of the West Sea known as the habitat of paleartic oystercatchers . Hcemntopus ostralegus osculans, in Korea. The surveyed areas were Aphaedo (Shinan-gun. Chollanam-do) Jangiado, Sonyudo and Munyodo (Okdo-myon, Kunsan-shi, Chollabuk-do), Yubudo (Changhang-up, Sochon-gun Chungchongnam-do), and Polumdo and Chumoondo (Sodo-myon, Kangwha-gup, Inchon ski). The oysters collected from Aphaedo, the known endemic focus, were examined monthly from August 1995 to October 1996 for observation of any seasonal variation of the metacercarial density. The average metacercarial burden was 761-2,077 by month, but the seasonal variation of the metacercarial density was not obvious. A total of 54 metacercariae was detected in 63 oysters collected from Yubudo. Out of 30 oysters from Sonyudo, 25 (83.3%) were infected with 1-66 metacercariae (12.6 in average). All of 50 oysters (100%) from Munyodo were infected with 3-162 metacercariae (53.5 in average), Only 4 metacercariae were detected in 100 oysters from Chumoondo. However, no metacercariae were found in 55 oysters from .Tangjado and 50 oysters from Polumdo. From the above results, it was confirmed that G. seoi is still highly prevalent in oysters from Aphaedo, and several islands of the West Sea known as the habitats of paleartic oystercatchers are new endemic areas of this fluke.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• The Korean Journal of Soil Zoology
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• v.10 no.1_2
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• pp.1-15
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• 2005

Tiger Beetles(Carabidae, Cicindelinae) were collected in the Province of Chollabukdo including some nearby islands from April 1997 to October 2002. The specimens of ca. 500 deposited in Sunchon National University, Chonbuk National University, the Jeju Folklore and Natural History Museum, and elsewhere were also examined. As a result, Korean Cicindelinae of 18 species from 10 subgenera is reported herein. Of these, Cicindela (Cylindera) obliquefasciata Adams, 1817 and Cicindeia (Cephalota) chiloleuca Fisher, 1820 are recorded newly in the Korean Peninsula. However, the distribution of C. japana is very doubtful in South Korea. This study also includes a key to the species, discussions on the habitats, distributions, and some ecological characteristics of Korean Cicindelinae.

• Korean Journal of Plant Taxonomy
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• v.43 no.4
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• pp.296-299
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• 2013

A newly recorded species, Fimbristylis hookeriana Boeckeler, was found in Gyema-ri, Hongnongeup, Yeonggwang-gun, Jeollanam-do and Munyeo-do Is., Gunsan-si, Jeollabuk-do, Korea. Fimbristylis hookeriana is closely related to F. dichotoma, which has ovoid spikelets, deciduous scales, pubescent culms, and short style. However, this species is distinguished by very narrowly ovoid spikelets, persistent scales, glabrous culms, and long style. We propose a new Korean name, 'Ba-Wi-Ha-Neul-Ji-Gi', meaning that this inhabits on dried rocks near seashore. Redescription, illustrations, photographs, table, and a key to species of the Fimbristylis Vahl in Korea are provided.

• Cartoon and Animation Studies
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• s.47
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• pp.439-461
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• 2017

The filial piety culture represented by Cao-e was regarded as moral rule mechanism in order to maintain patriarchal system and property relations in ancient China as an agricultural society. Exactly, In the process of Cao-e's story spreading, oral inheritance and literature processing have a relation of learning and penetration each other in order to beautify, deify, systematic stories. This is expression of human being's thought method of pursuing perfection. For instance, The traditional piety culture is increasingly weakened, that is why it is important to recognize the fundamental connotation behind the cultural identity in the modern society, to create the social foundation of Cao-e' filial piety cultural contents root, and to explore the core values of piety culture contains. Looking Cao-e' filial piety Culture and culture archetypes as study object, this article analyzes the spreading of Cao-e's story texts for understand the connection between literature processing and image formation from aspect of Cao-e deification.

• Korean Journal of Environmental Biology
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• v.37 no.4
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• pp.535-544
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• 2019

To elucidate the cause of Pyropia yezoensis discoloration, the characteristics of an aquaculture environment, as well as the morphology and cell structure of P. yezoensis thallus were examined from 2011 to 2014 in aquaculture farms of the Jeonbuk province. P. yezoensis discoloration did not occur in aquaculture farms at Gaeyado located in the Geum River Estuary but occurred in aquaculture farms of Seonyudo, Munyeodo, Biando, and Docheongri near the Saemangeum embankment in November 2011 and April and November 2014. The injured leaves showed discoloration and intracellular vacuole hypertrophy. During the study period, discoloration occurred at concentrations of dissolved inorganic nitrogen (DIN) and dissolved inorganic phosphorus (DIP) below 5μM and 0.4μM, respectively. As a result, Pyropia discoloration was determined by low concentrations of DIN and DIP. DIN deficiency affects the early stage and low DIP concentration affects the end stage of aquaculture.

• The Journal of the Petrological Society of Korea
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• v.28 no.4
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• pp.251-277
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• 2019

The Gogunsan Archipelago is composed of two island groups; the first group includes Mal-do, Myeong-do, Gwangdae-do, and Bangchuk-do islands consisting of Neoproterozoic rocks, and the second group includes Yami-do, Sinsi-do, Muneo-do, Jangja-do, and Seonyu-do islands consisting of Cretaceous rocks. The first group mainly consists of the Bangchuk formation which can be divided into two layers; the lower layer was more deformed than the upper layer. The former was intruded by mafic and felsic volcanic rocks formed in the volcanic arc tectonic setting 930-890 Ma and the latter was deposited ca. 825-800 Ma. In these islands, large scale folds with east-west fold axes were beautifully formed; the Maldo island fold was designated as natural monument and large scale beautiful chevron fold was developed on the Gwangdae-do island. In addition, there are unique zebra-shaped outcrop formed by a mixing of basic and acidic magma and Independent Gate shaped outcrop formed by coastal erosion. On the other hand, the Yami-do, Sinsi-do, Muneo-do, Jangja-do and Seonyu-do islands consist of 92-91Ma Cretaceous volcanic rocks and, in Sinsi-do island, the Nanshan formation deposited ca. 92 Ma. These Cretaceous volcanic rocks formed by melting of the continental crust by the heat supplied from the uplifting mantle due to the extension caused by a retreat of subducting ocean slab. Yami-do and Sinsi-do islands are composed of rhyolite. In Yami-do island, bands with vertical joint formed by cooling of the bottom part of the lava, are shown. In Sinsi-do island, large-scale vertical joints formed by cooling of lava flow, were developed. The Jangja-bong of Jangja-do island and Mangju-bong of Seonyu-do island are composed of brecciated rhyolite and formed a ring shaped archipelago contributing to the development of marine culture by providing natural harbor condition. They also provide beautiful views including 'Seonyu 8 views' along with other islands. As mentioned above, the Gogunsan archipelago is rich in geoheritages and associated cultural and historical resources, making it worth as a National Geopark.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.