• (The) Research of the performance art and culture
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• no.20
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• pp.309-338
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• 2010

This article is about seeking for modern festival possibility of Mudang gut with noticing a festival essence of it. Several components and process of performing Maeul gut can be a festival. But the recent condition of gut pan obstructs becoming a festival. Above of all, distorted eyes on Mudang gut deny a festivity. Transition into seeking for private fortune and the duplicity of concealing a Mudang gut have weakened a festivity of Mudang gut. Maeul gut becomes a ceremony with unequal distribution of support fund and the support fund on intangible cultural assets. Therefore, we should consider Mudang gut as a game. People need to change their preception as a performance that people can actively take part in. Mudang gut need a active participants not bystanders. When people consider them selves as actors, Mudang gut will be a festival.

• Korean journal of applied entomology
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• v.39 no.2
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• pp.59-71
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• 2000

The Asian ladybird, Harmonia axyridis, might be distinguished in biological control agents for the several aphid species in the greenhouses as well as in the fields. Therefore, feeding behavior and predacious capability characteristics were observed. When ladybirds are searching for aphids as their preys, they use the maxillary palpus as contact reception. Otherwise, most of aphids escape from walking or chewing ladybird to other place (mainly move to near-by leaf, or fall down to the under-leaf or ground) instead of plant sucking. Consumed time of ladybirds for searching and feeding prey were significantly different and dependent on their development stage. The ladybird adults ate about 120 green peach aphids and 257 cotton aphids per day. The 3rd instar of ladybirds ate 2,420 and 2,750 eggs of greenhouse whitefly on the cucumber and tomato leaf, respectively, as well. However, ladybird instars taken greenhouse whitefly eggs could not continuously develope to adult, on the other hand, ladybirds taken aphids were normal condition.

• (The) Research of the performance art and culture
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• no.22
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• pp.45-61
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• 2011

Performers of 'Seoul Jinjinokigut' point to aesthetics of performance centered on sense of sight, not sense of hearing. 'Seoul Jinjinokigut' is a kind of theatrical mode of performance, not narrative mode of performance. Performers of 'Seoul Jinjinokigut' succeed in making of relationships of harmonious fusion between 'social drama' and 'stage drama' through performing of Jinjinokigut. 'Seoul Jinjinokigut' is a kind of mode of performance that fuses life and death, not narratively but theatrically.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• Korean journal of applied entomology
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• v.34 no.2
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• pp.95-99
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• 1995

Acid phosphatase(AP) of he aphid, Megoura crassicauda and the major component of the lady beetle's artificial diet, fresh chicken liver, was adapted as a model protein to study the digestion of diet proteins in the midgut of Harmonia axyridis. The lady beetle did not secrete its own AP into the lumen of the midgut. The aphid and the live chicken liver had AP which was still alive in enzymatic activity from the extract of the lumen of the midgut of the lady beetle. The digestive ability of the lady beetle on proteins turned out to be different depending on food sources. In the lumen of the midgut of the lady beetle, though most of AP of live chicken liver lost its activity withtin 12 hours, that of M. cassicauda kept strong enzymatic activity up to 24 hours.

• (The) Research of the performance art and culture
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• no.18
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• pp.73-100
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• 2009

This article is considered how to utilize mime in the mudang gut. Actually, mime can't be the crux of mudang gut, and the only factors of mime is utilized. Therefore, the purpose of this article is to draw another nets of meanings in Mudang gut, not to study mime. First of all, I surveyed the constituent factors of mudang gut. One gutpan is combined with various factors. As a shamans(mudang), a musician, a jang gu player, a gongyangju(taking charge of food), a sibongja(helper for a shaman), and madangsoe (an under servant), they played their roles. The gut consists of equipment, food, clothes, music and dance. Next, I derived two nets of meaning out of considering a mudang gut performance of mudang (shaman). First, god in a general gutgeori appears expressing their existence by using mime with the music. Second, the following god appears expressing themselves using only mime without music. After showing who he is through action and facial expression, he continues to play a gut. Accordingly, mime of seoul gutpan plays a role to reveal the existence of god. Also, I divided the way of performing mudang gut into language performance and motions and then suggested that mime was mainly used in the motions. I surveyed a gutgeori using mime in the concrete. Through this, I suggested that the shaman used mime, when sending a deadman to the next world in a Jinogi gut. I suggested that mime was utilized repeatedly at the process of repelling the misfortune in a jaesu gut.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.496-501
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• 2021

The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

• Journal of Bio-Environment Control
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• v.13 no.1
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• pp.56-60
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• 2004

The aphidophagous lady beetle, Harmonia axyridis, is induced to undergo reproductive diapause by low temperature treatment. The diapause of the adult beetle can be maintained without supplying the diet up to 5 months at $4^{\circ}C$. The diapause can be induced any time including during the summer, allowing the beetle to be supplied to the field for the control of aphids through the year. Fecundity and longevity after the reproductive diapause is though to be satisfactory enough for the control of aphids in the field, Methoprene, an analog of reproductive hormone of JH, increases the early fecundity of the beetle.

• Korean Journal of Agricultural Science
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• v.28 no.1
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• pp.18-26
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• 2001

Application of the Asian ladybird (Harmonia axyridis) to control several species of aphids in the plastic green houses in mind, control effects of aphid populations regulated by the Asian ladybird were observed. The green peach aphid, the turnip aphid, and the cotton aphid were present on mustard plants, Angelia utlis, ornamental kales, and egg plants at greenhouses in spring, summer, and winter. Adults and larvae of the Asian ladybird used in experiments were collected from aggregated sites at Taejon in the autumn and reared on the cotton aphid in the laboratory. In winter, more number of adults and larvae of ladybirds than in other seasons were needed to control aphid population in successively double plastic greenhouses with supplied subterranean water for keeping warmth. In spring and summer, it was possible to keep the aphid populations low when necessary by manipulating ladybird populations according to the density of aphids. On the other hand, the innate increasing rate of aphid, the aphid population density at the time of applying ladybird, the predacious ability of ladybird at specific developmental stages, and needed periods should be taken into account to control aphids. In addition, the environmental factors, for example, optimum temperature and humidity should be considered to be biologically effective when ladybirds are released to greenhouses.

• The Korean Journal of Pesticide Science
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• v.3 no.1
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• pp.84-89
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• 1999

This experiment was conducted to select the selective aphicides to Myzus persicae adults and its predator, Harmonia axyridis adults. The effects of the selective aphicides on the longevity, fecundity and hatchability of predaror were examined. All experiments were tested at the recommended concentration of those aphicides. Mortalities of adult H. axyridis to pirimicarb (162.5 ppm), fenvalerate (50 ppm) and endosulfan (577.5ppm) were shown 0, 20 and 22.5%, respectively. Endosulfan and fenvalerate showed the mortality above 48% to eggs and larvae H. axyridis, but pirimicarb was not toxic to those stages. Pirimicarb did not affect to the longevity, fecundity and hatchability of H. axyridis, but endosulfan and fenvalerate severely affected to the predators. From these results, pirimicarb can be used in biological controls for M. persicae.