• Korean Journal of Environmental Agriculture
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• v.14 no.2
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• pp.202-212
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• 1995

In order to elucidate the degrading characteristics of the pyrethroid acaricide-insecticide, acrinathrin in two different types of soils, Soil A(pH, 5.8; organic matter, 3.4%; C.E.C., 115 mmol(+)/kg soil; texture, sandy loam) and Soil B(pH, 5.7; organic matter, 2.0%; C.E.C., 71 mmol(+)/kg soil; texture, sandy loam), residualities of the non-labeled compound under the field and laboratory conditions, extractability with organic solvents and formation of non-extractable bound residues, and degradabilities of [$^{14}C$]acrinathrin as a function of aging temperature and aging period were investigated. The half lives of acrinathrin in Soil A treated once and twice were about 18 and 22 days and in Soil B about 13 and 15 days, respectively, in the field, whereas, in the laboratory, those in Soil A and B were about 36 and 18 days, respectively, suggesting that the compound would be non-persistent in the environment. The amounts of $^{14}CO_2$ evolved from [$^{14}C$]acrinathrin in Soil A and B during the aging period of 24 weeks were 81 and 62%, respectively, of the originally applied $^{14}C$ activity, and those of the non-extractable soil-bound residues of [$^{14}C$]acrinathrin were about 70% of the total $^{14}C$ activity remaining in both soils, increasing gradually with the aging period. Degradation of [$^{14}C$]acrinathrin in both soils increased with the aging temperature. Three degradation products of m/z 198(3-phenoxy benzaldehyde), m/z 214(3-phenoxybenzoic acid), and m/z 228(methyl 3-phenoxybenzoate) as well as an unknown were detected by autoradiography of acetone extracts of both soils treated with [$^{14}C$]acrinathrin and aged for 15, 30, 60, 90, 120, and 150 days, respectively, and the degradation pattern of acrinathrin was identical in both soils. Acrinathrin in soil turned out to be degraded to 3-phenoxybenzaldehyde cyanohydrin by hydrolytic cleavage of the ester linkage adjacent to the $^{14}C$ with a cyano group, the removal of hydrogen cyanide therefrom led to the formation of 3-phenoxybenzaldehyde as one of the major products, and the subsequent oxidation of the aldehyde to 3-phenoxybenzoic acid, followed by decarboxylation would lead to the evolution of $^{14}CO_2$.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.