2000년 8월 충남 부여의 장미 재배지에서 채집한 점박이응애가 etoxazole에 대해 3,700배의 저항성을 나타내었다. 이 집단을 실내에서 3년 동안 etoxazole로 100회 이상 도태하여 5,000,000배 이상의 저항성계통을 얻었다. 이 계통은 약제처리 없는 조건 하에서 1년 이상 경과된 후에도 암컷 성충의 etoxazole에 대한 저항성 수준은 변화가 없었다. 이 저항성계통의 유전과 교차저항성 유무를 조사하였다. 감수성계통 수컷과 저항성계통 암컷을 상호 교배( )하여 얻은 과 의 우성도는 각각 0.98과 0.98로 완전우성이었으며, 으로 상호 교배하여 얻은 과 의 우성도는 각각 -0.97과 -0,68로 불완전열성이었다. 따라서 etoxazole저항성을 지배하는 유전인자는 수컷보다 암컷성충에 의존하여 완전우성에 의해 지배되는 것으로 나타났다. 이 저항성 성충은 acequinocyl과 emamectin benzoate에 대해 각각 10.4배와 14.0배의 교차저항성을 나타내었고, 알은 milbemectin, amitraz, pyridaben에 대해 각각 52.0배, 14.6배, 9.4배의 교차저항성을 나타내었다. 한편 카바제이트계 살비제인 bifenazate에 대해서는 역상관 교차저항성을 나타내었으므로, etoxazole에 저항성을 보이는 농가에서는 bifenazate를 교호살포하면 점박이응애를 효율적으로 방제할 수 있을 것이다

점박이응애(Tetranychus urticae)에 대한 34종 terpene의 훈증독성, 접촉독성 및 기피효과를 조사하였다. 훈증독성은 10/1(공기)의 농도에서 isosafrole, safrole이 모두 98.4%의 살비율을 나타내었다. 이 두 화합물의 LD값은 각각 2.6, 4.3/1이었다. 접촉독은 isosafrole만이 알에 대해서 60.2%의 살란활성을 보인 것 외에 대부분의 terpene에서 활성이 낮거나 없었다. 약제감수성 계통에 대한 기피반응을 조사한 결과 hexanoic acid와 limonene이 1,000ppm에서 각각 79.1%와 87.8%의 기피효과를 나타내었다. 한편 fenprothion저항성 계통과 pyridaben저항성계통에 대해서 hexanoic acid는 각각 77.8%과 83.3%의 기피효과를 나타내었다. 그러나 두저항성계통에 대한 limonene(1,000ppm)의 기피효과는 각각 17.8%와 10.0%로서 감수성계통에 대한 기피효과와 상반된 결과를 나타내었다.다.

일본잎갈나무의 식엽해충인 잎갈나무통나방(Coleophora obducia Meyrlck)의 생활사 및 천적의 종류를 충북지방을 중심으로 조사하였다. 기주식물로는 일본잎갈나무만이 확인되었다. 잎갈나무통나방은 연 1회 발생하였으며 성충의 우화시기는 5월 중순부터 하순까지였고 최성기는 5월 14일경이었다. 성충 1마리당 포란수는 약 44.5개였으며 1엽당 1개씩의 알을 낳았다. 난기간은 약 2주 였고 유충은 잎 속에다 고치를 틀고 월동하였고 4월 말부터 용화하기 시작하였다. 또한 천적으로 포식성곤충인 거미류, 개미류 등과 기생성곤충인 기생파리류와 기생벌류가 조사되었다.

In such poems as “The Dialogue of Self and Soul” and “Vacillation”, the antinomies and oppositions which I have traced in the previous issue of this Journal develop in a very complex manner within the frame of such figures as “the sword” and “the tower”, “brand” and “flaming breath”, “burning leaves” and “green lush foliage moistened with dew.” And they are always posited as implying the antinomies of life and death, remorse and joy, body and soul, earthly life and heaven. In the process of vacillating between “extremities”, Self and Heart which figure not only the body but also the poet’s self declines Soul’s request to “seek out reality, leaving things that seem.” Even though Heart vacillates between antinomies, always looking towards what are opposites to itself, it chooses Homer and his unchristened heart as its example and determines to “live tragically.” By opposing the life of a Swordman to that of a Saint and receiving Homer as the figural example of his art, Yeats puts the foundation that his lyric should be understood as tragedy. “The Gyres” and “Lapis Lazuli”, two tragic lyrics composed in Yeats’s last years, embody his idea of the tragic lyric as well as his tragic world view. In “The Gyres”, the poet, invoking his muse “the old Rocky Face” to look forth and view the world’s overall collapse, “but laugh in tragic joy”. And in “Lapis Lazuli”, the tragic heroes of the Shakespearean tragedy are displayed as the opposing powers or qualities to “the hysterical women” of the modern world. In both of these poems, the poet’s tragic joy or exultation springs from the tragic vision that all things “fall and are built again.” The very eternal recurrence of the battle of antinomies and opposite forces is the source which enacts the poet’s strength and energy to exalt in the midst of despair. Therefore, we may be able to say that the poet’s magical aesthetic which is based on the absolute power of death and the tragic sense of life elevates his lyrics to the height of disruptive tragedy, letting the poet to enact tragic authority at the same time.

Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)

Unlike his early symbolic mode that is based on the natural representation of organic universe, Yeats’s later works are constructed in the allegorical mode which is based on the antinomies and oppositions that can be defined by rhetoric, form, tone and thematic motifs. If the antinomies are Yeats's central means of perceiving and interpreting the world, what kinds of experience are posited in the center of his life, and in what manner are those experiences represented? The aim of this essay is to approach, through his poetic sequence “Meditations in Time of Civil War”, Yeats’s frame of mind which perceives the world as a series of fixed set of antinomies. Yeats’s later lyric mode is connected, in a very complex manner, with the contradictions and conflicts which arise from what Michel Foucault calls “the absolute power of life and death” and “the life-administering power”. He believed that if the political power and the family authority were to be maintained in modern Ireland, he as poet should embody the ancient forms of power in the aesthetic domain. Such idea leads him to enact in his own works the oral tradition of ancient poetry. He thinks that, leaning on the model of ancient magical arts, modern lyric poet could embody the absolute power of death in his poetry. The literary mode which enacts such power and authority can function as one of the main agents that break the comedic power of modern individualism. Yeats’s idea of absolute power and authority is, however, in constant contradiction with the life-administering power of modern society. Therefore, despite the poet’s strong desire to enact the tragic authority of ancient bard, the poetic space of “Meditations in Time of Civil War” remains the complex site of contradictions and conflicts between the residual forms of Anglo-Irish traditional culture and the dominant cultural forms of modern individualism. It is a disruptive space in which what Fredric Jameson calls the “reversibility” and “disjunction” of modern literary text are embodied in thematic, figural and formal levels.

기판온도 320˚C에서 알루미나 기판 위에 형성한 NTC 써미스터용 Mn-Ni계 산화물 박막의 산소가스 농도 변화와 막 형성 후 열처리에 따른 미세구조, 결정상 비저항, B정수 변화에 관하여 연구하였다. 미세구조는 주상 구조(columnar structure)를 지녔으며 열처리 온도가 증가함에 따라 700˚C 부근에서 등축 결정립 (equiaxed grain) 형태의 미세구조로 바뀌기 시작하였다. 박막의 결정상은 대부분 입방 스피넬 (cubic spinel) 상과 입방 Mn2O3, 상이 공존하였으며 산소농도 0.16%~0.7%의 경우 800˚C에서 열처리하였을 때 입방 스피넬 상만이 존재하였다. 분위기 산소의 농도가 증가함에 따라 비저항과 B정수도 급격하게 감소하다가 다소 증가하였으며, 600˚C-700˚C 로 열처리할 경우 이 값들이 대체로 낮고 안정된 특성을 보였다.

오원계 AI-합금의 용융산화에 의한 AI2O3 복합재료의 형성속도와 미세구조에 대하여 연구하였다. AI-1Mg-3Si-3Zn 합금과 AI-1Mg-3Si-5Zn합금에 Cu, Ni 각각을 1% 무게비로 첨가하였다. 각 오원계 합금은 1373K, 1473K에서 최대 20시간 동안 산화시켰으며, 산화속도는 무게증가 측정을 통하여 조사하였다. 산화층의거시적 형상과 미세구조를 광학현미경으로 관찰하였다. AI-1Mg-3Si-5Zn-1Cu 합금이 가장 우수한 산화거동을 보였으나, 산화층이 불균일하였다. 합금위에 SiO2를 도포하였더니 산화속도가 증진되었으며, 균일하고 조직이 친밀한 산화층이 얻어졌다.