• 심성연구
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• 제31권2호
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• pp.177-214
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• 2016

그림형제가 수집한 민담 <황금 새>를 분석심리학적 관점에서 해석하였다. 민담의 제시부에 나타난 문제점은 왕과 아들 세 명의 치우친 남성적 구조 속에서 이 왕국은 여성성이 결핍되어 있다. 황금 사과의 상실은 균형을 이루기 위해 더욱 더 여성적 요소를 보충할 필요성을 느낀다. 가장 어리고 바보스러운 막내의 모험과 여행은 분석심리학에서 말하는 새로운 자아의 개성화 과정으로 볼 수 있다. 자아는 여행의 경과 중에 단계마다 새로운 왕국이라는 특정 집단의식의 지배에 사로잡히고 죽음의 위기에서 어려운 과제를 수행한 후에 해방되어 다음 단계로 나아간다. 이 과정은 성인화 과정으로 자아의 높아진 의식성의 회복 뒤에 여성성의 보충이라 하는 공주와의 결혼 즉 대극의 합일이 가능한 수준으로 발전할 수 있다. 여성성의 보충으로 보이는 새, 말, 공주는 독립되어 있는 것처럼 보이지만 그들은 서로 하나로 연결되어 있다. 이들을 만난 자아가 아직은 온전한 성공에 이른 것은 아니다. 집단 지배의식의 지시에 따라 출발하는 두 형들의 실패 뒤에 주관적 의식이 적극적으로 개입한 새로운 자아(막내)가 나섰다고는 하지만 아직도 페르소나의 구분과 버림은 쉽지 않은 난관이다. 반복된 고난에 이어 형들을 사형에 처한 다음에 즉 지적인 능력이 제물로 바쳐진 다음에 상위의 의식성을 획득하고 그의 아니마인 공주와 일차적 결혼을 한다. 대개의 이야기는 결혼으로 끝나지만 여기서는 다음 단계가 남아있다. 여우가 자신을 죽여 머리와 발을 잘라 달라는 간절한 부탁을 주인공이 마지못해 행하자 여우는 마법이 풀려 왕자가 된다. 여우가 공주의 오빠로 변신한 것은 동물이 인간화한 것으로 또 다른 의식화를 경험한다. 비로소 대극의 합일이 이루어지고, 신성한 결합이 전체성을 획득하고 즉 개성화의 완성을 이루게 된다.

• 복식
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• 제21권
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• pp.129-142
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• 1993

We priority given to Jowoo-Kwan this study examined the ideologic backgrounds which had influences on Jowwo-Kwan throughout the Birds Worship Thought and the Yin-Yang and Five-Elements Thought. Jowoo-Kwan with bird-feathers to Jeol-Poong namely the orgin of the Korean Kwan-Mo existed as a northern cultural elements until the Three States. The customs of Joo-Kwan were greatly related to the hunting life of a horse-riding people and they were dominated the Birds Worship Ideology originated from the primitive religion of a northern people namely Shamanism. In the early days Jowoo-Kwan with natural bird-feathers was decorated with golden bird-feathers with the development of a so-ciety and it changed realistic and crative in the form. The results that Jowoo-Kwan is applied to the Yin-Yang and Five-Elements Thought as follows. The Higher front part represents Yang and on the other hand the lower back part does Yin. Thus Jo-woo-kwan consists of a ideologic Yin-Yang. By means of principles of the Five Elements Birds are included in four animals with the mean of God and especially we can confirm it from a red bird. Expresions of Jowoo-Kwan shows the influences of the Five Elements thought.

• 생명과학회지
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• 제27권5호
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• pp.530-535
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• 2017

조류 및 포유류에서 미토콘드리아를 분리하고 모노아민산화효소(EC 1.4.3.4, monoamine oxidase)의 활성을 측정하여 미토콘드리아의 분리도를 확인하였다. 미토콘드리아 각 분획에서 젖산탈수소효소(EC 1.1.1.27, lactate dehydrogenase, LDH)의 발현도를 생화학적 및 면역화학적 방법으로 분석하였다. 조류에 비하여 포유류에서는 미토콘드리아 LDH의 활성이 낮은 것으로 나타났다. 따라서 미토콘드리아 LDH의 역할은 포유류보다 조류에서 중요시된다고 생각된다. 조류 및 포유류 모든 조직의 단백질양은 세포기질보다 미토콘드리아에서 적게 나타났다. 생쥐와 골든햄스터의 세포기질에서는 LDH $A_4$, $A_3B$, $A_2B_2$, $AB_3$ 및 $B_4$ 다섯 가지 동위효소 이외에 testis-specific LDH $C_4$ 동위효소가 정소 조직에서 나타났다. 닭의 미토콘드리아 내에서는 AB hybrid형 동위효소 한 종류가 나타났다. 포유류에서 미토콘드리아 LDH 동위효소들은 조직 별로 다르게 나타났다. 생쥐의 미토콘드리아 내에서는 LDH $A_4$ 및 testis-specific $C_4$ 동위효소가 나타났다. 미토콘드리아 testis-specific LDH $C_4$ 동위효소는 생쥐에서만 나타났다. 골든햄스터 미토콘드리아 내에서는 LDH $B_4$ 동위효소가 lactate oxidase로서 작용하였다. 조류 및 포유류의 대사조건 및 서식환경에 따라 미토콘드리아 LDH 동위효소의 역할도 구분되는 것으로 생각된다.

• 한국가구학회지
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• 제21권3호
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• pp.253-260
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• 2010

The drop handle in the Chosun-Dynasty played a role lifting up the cabinet and box which was attached to and besides this had the decoration function. The scope of this study should include the drop handles from the $18^{th}$ century up to now by investigating and analyzing their definition & function and furthermore the types of their designs. The object of the study was the drop handle having 2 golden fixing parts which are definitive difference from ring or loop, and the design typology of drop handle was concentrated on the handle part, and it can be classified in two types. The one is the figuration of bow, bat, bamboo, fish and bird and so on from the motive of nature on the handle part, and the other one is the drop handle of the simple ㄷ-shape, the temple-symbol shape or geometrical forms. According to the analysis of relics & literature from the past it was found that there were more quantitative nature-motive figurations than the geometrical forms. The nature-motive figurations were again classified in box-, bat-, cloud- bamboo-, fish- and bird-type, and the geometrical forms in ㄷ-shape, the temple-symbol shape and others. The cases applied to furniture are roughly divided into the front-attached type and the side-attached type. In comparison of the drop handle in the Chosun-Dynasty with that of modern times, ㄷ-shape and bow-type keep the long tradition of the drop handles despite of the constructive change partly. Ring-type is similar to the just ring or loop of the part and drop handle with one golden fixing part, while the knob-type shows almost same forms in the past as well as in the modern times. Which type among handles in the modern times has little connection with the past is the reclaimed type, and it was showed in the Chosun-Dynasty and also is showed up to now identically that the man-made hole on the front side of the drawer for the function as handle.

• 박물관보존과학
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• 제26권
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• pp.83-182
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• 2021

본고는 경상북도 경주시 노서동 129호분(서봉총)에서 출토된 금관(보물 339호)의 보존처리와 제작기법 조사결과를 정리한 것이다. 서봉총 금관은 일제강점기인 1926년 조선총독부박물관에서 진행한 발굴조사를 통해 출토되었으며, 현재 국립중앙박물관 소장품이다. 국내에 현존하는 신라 금관은 총 6점으로, 그 중 서봉총 금관은 신라 금관의 전형을 보이면서도 새장식이 달린 돔형의 반구형장식이 존재하는 유일한 사례이다. 출토이후 금속재료와 접착제 등으로 수리되었으나, 형상이 일부 변형되고 수리재료로 인한 금관의 손상이 야기되어 보존처리를 진행하였다. 이 글에서는 서봉총 금관의 보존처리 및 원형복원의 전 과정과 특히 유물의 안정성을 위해 중점을 둔 접합부 보강 방법을 상세히 서술하고, 보존처리 중 조사를 통해 확인된 제작과정의 특징을 소개하고자 한다. 또한 서봉총과 유사형태의 신라관의 제작기법을 비교하여 서봉총 금관과 다른 신라관의 관계성을 검토하고자 하였다. 서봉총 금관의 제작당시 기본 장식은 금제 영락이었으며, 이후 세움장식의 영락 일부를 곡옥으로 교체하고 관테에는 곡옥을 새로 연결하여 장식을 수정한 정황을 새롭게 확인하였다. 이러한 현상이 다른 금관에도 적용되었는지 알아보고자 국내 신라 금관 6점의 장식기법을 모두 비교한 결과 천마총 출토 금관에서 동일한 방식의 수정 흔적과 여러 유사성을 확인하였다.

• 한국환경복원기술학회지
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• 제18권1호
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• pp.25-35
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• 2015

Pennisetum aloperculoides is a key revegetation species mixed with other plants species and used for revegetating cut-slopes. The purpose of this research is to identify the effects of mixed seeding of revegetation plants on cut-slope revegetation with respect to the quantity of Pennisetum aloperculoides seeds. The coverage ratio and appearance frequency of Pennisetum aloperculoides, and other revegetation species were measured to assess the cut-slope revegetation. We divided Pennisetum treatments into four groups with different Pennisetum seed quantities of $0g/m^2$, $5g/m^2$, $10g/m^2$, and $15g/m^2$. For each treatment group, we mixed identical quantities of seeds from herbaceous flowers (bird's-boot trefoil, aster, chrysanthemums, golden coreopsis and china pink), cool-season turfgrasses, and woody plants (korean lespedeza, indigo and silk tree). The increase in the quantity of the Pennisetum seeds resulted in the higher coverage ratio for Pennisetum, but in the lower coverage ratio for herbaceous flowers, cool-season turfgrasses, and woody plants. We observed a short-term succession process in which the dominant species shifted in the following order: the initial species Pennisetum, herbaceous flowers, and then lastly woody plants. In case of the appearance frequency, we also observed the higher appearance frequency for Pennisetum and the lower appearance frequency for the other plants due to the increase in the quantity of Pennisetum seeds. Pennisetum, bird's-foot trefoil and china pink showed the tendency to decrease the appearance frequency from one month after seeding while cool-season turfgrasses became extinct due to summer drought. In the woody plants, the appearance frequencies of korean lespedeza and indigo were high due to the decrease in quantity of Pennisetum seeds. The silk trees were damaged from winter frost and none emerged at all in 2013 (the following year after the seeding). Korean lespedeza and indigo appeared to have the short-term rapid dominance over other treated revegetation plants.

• 한국환경생태학회지
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• 제8권2호
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• pp.183-192
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• 1995

본 연구는 주왕산 국립공원을 대상으로 서식 조류군집을 파악하고, 이의 보호 및 관리 방안을 제시하기 위하여, 2개의 조사구역을 선정하고, 1994년 봄, 여름, 가을에 걸쳐 야생 조류 군집을 선조사법에 의해 조사하였다. 조사기간 동안 관찰된 야생조류는 총 42종으로, 봄에는 33종, 여름에는 32종, 가을에는 26종이 관찰되어 온대 조류군집의 전형적인 형태를 보였으며, 천연기념물 및 희귀 조류는 검독수리, 붉은배새매, 수리부엉이, 큰오색딱다구리 등 7종이었다. 번식기 영소길드는 종 수에 있어서는 수관층 영소길드가 높았으나 ha당 서식 밀도는 수동 영소길드의 비율이 가장 높았으며, 채이길드는 봄, 여름에는 수관층 채이길드가 우점하였으나 가을에는 관목층 채이길드가 증가하는 경향을 보였다. 관찰된 천연기념물 및 희귀 조류의 서식지는 자연보존지구와 일치하는 경향을 보여 이들의 보호를 위해서는 이들 조류의 계속적 연구와 보호.관리가 필요하며 자연보존지구의 재설정 및 이 지역의 철저한 보호가 필요한 것으로 생각된다. 또한 관목층 길드의 보호를 위해서 등산로 주변에 관목을 조성하거나 등산객의 통제가 필요하며, 겨울의 야생조류 관리를 위하여 먹이 식물을 식재하거나 인공먹이를 제공하고, Cover자원을 위해서 관목층, 인공새집의 제공이 필요하다. 최근 야생 고양이의 피해가 증가되고 있으므로 이의 철저한 구제가 필요하다고 생각된다.

• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 복식
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• 제63권3호
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• pp.1-16
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• 2013

Xiognu people were the first of the Central-Asian nomads to establish a nation in 209 B.C. They always moved around looking for places to breed their animals and fertile grounds, so they wore clothes made of fur and leather and covered their tents with felt from the livestock. This research studies on the literatures, costumes and the achievement of archaeological excavation. Furthermore, to investigate on costumes excavated of Xiongnu, we visited the Mongolian National Museum and the Hermitage Museum. A corn-hat made of felt, a felt hat with ear flaps and a golden crown with a bird on the top were unearthed from a tomb of Xiongnu in Inner mongolia. Women usually wore pigtails, and men wore pigtails or ponytails but they cut their hair short when holding a funeral. Many pigtails discovered in Noyon uul tombs can be considered as their funeral customs. The Xiongnu wore a round or v-neck caftan attached straight sleeves reaching knees in the left folded style, and because they always rode horses, having the length of the caftan not go past their buttocks would have made it more convenient for them. During the period of Western Han, Ho refered to Xiongnu and it became a common name for northern races. They used leather belts and an animal-designed buckle was found. Women commonly rouged their cheeks for a vivid and cute look, and many ornaments were excavated including bracelets, rings and decorations made of gold, silver, copper and jade, among which there were hair ornaments used to identify one's class. A horse pattern with wings and a horn of Golmod T20 was substitution for the Schythian use of deer. Patterns or shape of unearthed articles present in the Xiongnu culture in Noyon uul had a close relationship with Altaic, Greek and Persian cultures. The Xiongnu clothing was made of animals' skin and fur, woolen textiles and felt. It was folded to the left for upper garments, and the pants were adjusted using a belt and shoes were made of leather, which was very suitable for protection against the cold and horse riding. Mobility played a significant role in their clothing.

• 비교문화연구
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• 제23권
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• pp.265-293
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• 2011

This study focused on the literary world of T. Tolstaya, a Russian writer who takes a crucial position in contemporary Russian literature, drawing upon the wrier's a couple of short stories. 'Youth' is a key motive encompassing all works of Tolstaya, so that it becomes the poetic keynote among her literary works. In order to examine such distinctions of the main characters' world awareness in their youth as shown in Tolstaya's literary works, Chapter 2 of this paper paid a special attention to the analyse of her representative works such as "Sitting on a Golden Terracing Stone" and "Meeting with a Bird", and expressed potential implications of youth with mimetic imagination for her. For Tolstaya, youth is perceived as a paradise but original imagination of youth gradually fades away in adult and ends up with a lost paradise. This is why Tolstaya uses poetic means based on nostalgia for youth like paradise and literary motto for recovery of imagination in youth. In this regard, this study particularly examined the retrospective prologue resisting the power of time as well as different fictional characters living in her own fantastic world. As a result, this study draws a conclusion that such longing and nostalgia for youth and lost paradise as delineated by Tolstaya through retrospective prologue and characters speak for an existential speculation that explores any profound implication of afflictions in reality of human life, rather than focusing on the painful reality of human life which consists of honest dialogues with realities like 'darkness' and 'pain.' In addition, this study, complying with Zolotonosov's ideas which deal with and define Tolstaya's literary works as a shabby and humble box invisibly containing a full wealth of precious jewels inside, sheds a new light on the writer's literary world.