사람들에게 가장 일상적인 시각 대상이었던 대지와 하늘, 바닷가와 강가의 산과 모래밭, 그리고 숲속의 오솔길, 그 길가에 여기저기 서 있는 크고 작은 나무들, 개울에 흐르는 잔잔한 물소리, 가끔은 크고 작은 자갈에 부딪히는 소리들은 우리에게 맑은 숨을 쉬게 하고 작은 힘을 솟게 해주었다. 겨울 산과 여름 산의 정서가 다름은 우리가 자주 느끼는 일이다. 바다에 있는 산은 작게 보이고 강가에 있는 산은 크게 보인다. 사람이 서서 볼 수 있는 거리 때문이겠지만 우리에게 주는 정서 역시 제각기 다르 다. 특히 여름철 해질 무렵 연한 보랏빛 석양에서부터 검 짙은 갈색으로 변할 때까지 지켜본다는 것도 자연의 일부분을 충분히 경험하는 방법이라고 생각했다. 그러나 지금은 아파트로 둘러 싸여 있어 그런 기억들이 2차원의 공간에서만 볼 수 있는 먼 추억이 되어버렸다. 2차원 공간? 우리는 3차원에서 생활하고 있기 때문에 2차원 공간이 생소하다. 그러나 실제로 우리는 생활 속에서 2차원 공간을 많이 사용하고 있다. 책, 사진, 문서, 벽면 등등. 그러나 지금 내가 하고 싶은 말은 그런 것도 중요하지만 3차원의 세계에서 살고 있는 우리가 생홣 밖의 일도 저지를 수 있다는 것이다. 상상, 공상, 환상, 망상, 그리고 창의적 발상의 요람이 될 수 있다는 것이다. 그것을 표현하는 방법은 각자 다를 수 있다. 이를테면 글자로 쓰는 것, 선으로 그리는 것, 색으로 칠하는 것 등등. 최초의 원시인도 기계문명시대에 사는 현대인도 하기 힘든, ‘인류의 유산’으로 남겨놓은 것들을 우리는 알고 있고 볼 수도 있다. 암각화, 벽화, 골각화 등등. 캄캄한 동굴 안에, 거대한 암석에 그러한 그림들을 그린 이유가 무엇이었을까, 무슨 도구를 사용했으며 누구를 향한 절규였을까. 필경 목숨을 걸고 그런 일을 했다면, 생각할수록 더 궁금해지지 않을 수 없다. 그런데 필자가 이런 이야기를 하는 것을 나이가 많아서 할 일이 없기 때문이라고 생각해도 괜찮다. 왜냐 하면 우리나라 사람 대부분은 이러한 역사적이거나 철학적인 얘기를 꺼내면 밥 맛 없는 소리 한다고 치부 하는 경우가 많기 때문이다. 자기 자신을 잘 모르고, 우리 역사를 잘 모르고, 인류의 역사를 잘 몰라도 우리는 잘 먹고 잘 살고 있기 때문인 것 같다. 철학에 물리적 실체가 있다면 아마 예술이라는 걸로 표현될 것이다. 어떤 모습, 무슨 색깔, 무슨 구상이 든 그것을 표현하는 것은 오롯이 작가 자신일 것이다. 관람객이 작품을 그저 쓱 쳐다본다면 그 작품은 같은 위치와 같은 장면만 보여준다. 관람객의 사회적 위치나 시선과는 상관없이 민 낮의 정서로 그 사람 과 마주친다. 그러면 관람객은 그림 속의 사심을 자기의 마음으로 하나씩 벗겨낸 다음 맨 마지막으로 보 통 이렇게 이야기 한다. “이게 뭐야? 나도 할 수 있겠다!” 그러고는 종종걸음으로 작품 앞을 떠난다. 동일한 시간에 올실 안의 풍경과 문 밖 강가의 풍경이 다를지라도 생명의 리듬은 같다는 것을 우리는 알고 있다. 물풀에 잠시 앉아 있는 까만 잠자리나 빨간 고추잠자리가 하는 일은 같을지도 모른다. 그래서 지구상에 모든 생명은 ‘질서’라는 카테고리 안에서 잘 살고 있는지도 모른다.

The successive discoveries of unearthed documents have brought an opportunity for the interpretation of related handed down documents. This thesis mainly combines the documents, and suggests that (1) the ‘shi (世)’ of “shi xuan er lao (世選爾勞: calculate your credit for generations)” in Shangshu be read as ‘she’ (揲) since it is interpreted as counting; (2) the ‘zhi (植)’ of “zhi bi bing gui (植璧秉珪: put the jades on the altars and hold an elongated pointed-tablet of jade in hand)” as ‘dai’ (戴); (3) “yu bu gan bi yu tian jiang wei (予不敢閉于天降威: I dare not block the power of heaven.)” as a sentence; (4) “gao nai ting (高乃聽: expand your knowledge)” as a possible mistake of “shu nai de ( (淑)乃德: beautify your character)”; (5) “jun yi yue shi wo” be sentenced probably as “jun. yi! yue shi wo (君。已 (嘻)！曰時我: Jun! sigh! God be kind to us.)” since ‘shi (時)’ means ‘to be kind’; (6) the ‘zai wei (在位)’ of “xiao zi tong mei zai wei dan wu wo ze (小子同未在位誕無我責: I am an ignorant young man, but no one among the officials in office will blame me.)” belong to the preceding sentence, which ought to be translated as “I am ignorant but in the big position” ; and (7) ‘da yin (達殷)’ of “yong ke da yin ji da ming (用克達殷集大命: To defeat the Yin dynasty and achieve national destiny.)” bear the meaning of Yin.

The study into ancient artifacts originated from the age of King Zhen (真) in the Song Dynasty. The research by Liu Chang and Ouyang Xiu in the age of King Ren (仁) opened the fashion for epigraphy collection and appreciation to ancient artifacts. The academic notes in the Song Dynasty mainly discussed the context of three levels. Firstly, the collection of ancient artifacts. For example, Nenggai Zhaiwanlu of Wu Zeng and Yanxia Fangyan of Ye Mengde all described the collection of ancient artifacts in the Qin and Han dynasties. Secondly, historical research on epigraphy. For example, Mozhuang Manlu of Zhang Bangji and Rongzhai Suibi of Hong Mai all used the epigraphy and stone inscriptions to verify the history of ancient artifacts. Thirdly, the textual research on epigraphy such as Guangchuan Shuba of Dong You, Dongguan Yu lu of Huang Bosi. They all recorded the comments on the advantages and disadvantages of inscription or epigraphy while it also contained the comments on the characteristics of Chinese calligraphy art. The stone inscriptions stored in the academic notes of the Song Dynasty then become an important reference to studies on the Epigraphy of Song Dynasty, which not only provides an important proof for the construction of calligraphy or epigraphic history in the Song Dynasty but also expands the academic horizon for the research on epigraphy in the later generations that holds academic and historical significance.

한국산 둥글장수풍뎅이(Pentodon quadridens bidentulus)의 3령 유충과 번데기의 형태를 처음 기술한다. 서식지와 실험실 사육에서 둥글장수 풍뎅이의 생태, 분포, 생활사 또한 제공한다.

There are two interpretations of the idiom “日逑月相” in No.11 scripts of “Minzhifumu” in Chu Bamboo Slips of the Shanghai Museum. They are “日就月將” and “日聚月扶”. “日就月將” means to make progress every day and every month. “日聚月扶” means to gather every day and every month. These interpretations are not completely convincible. According to their shapes, syntactic structure and context, it is suggested in this article that “日逑月相” means to be compared to the sun and the moon. The second part of this paper mainly discusses the word “𣳠”. Seas were mainly written as “𣳠” instead of “海” in the characters of Chu Kingdom during the Warring States Period. When the word “海” became popular, the word “𣳠” disappeared.

In this study, we developed ten microsatellite markers specific to L. angelina using the Illumina NextSeq 500 platform. Forty-three individuals of L. angelina collected from three localities in South Korea were genotyped to validate these markers and to preliminarily assess population genetic characteristics. The observed number of alleles, observed heterozygosity (HO), and expected heterozygosity (HE) at a locus ranged from 4–13, 0.211–0.950, and 0.659–0.871 in the population with the largest sample size (20 individuals), respectively, thereby validating the suitability of the markers for population analyses. Our preliminarily assessment of the population genetic characteristics indicates the presence of inbreeding in all populations, an isolation of the most geographically distant population (Seocheon), and lower HO than HE. The microsatellite markers developed in this study will be useful for studying the population genetics of L. angelina collected from additional sites in South Korea and from other regions. †These authors contributed equally to this paper.

This study explored the effects of note-taking training on Korean college students’ notes during academic English listening tests. A total of 61 college students were randomly assigned to two different groups: Group A that later received training in note-taking strategy and Group B that did not. Group A received note-taking strategy training on three separate times, totaling 60 minutes (30 minutes, 15 minutes, and 15 minutes) that spread out over two months. The two groups took listening tests before and after Group A was trained. The results showed the positive effects of the notetaking training in relation with the groups’ note-taking behaviors. After training, the trained group used more and frequent notes whereas the untrained group’s number of notes decreased. Individual students who drastically increased the number of notes after training (in Test II) showed more systemic framework of notes for Test II than before training (in Test I). The present study is meaningful in that it utilized the different analyzing methods on the quality of notes compared with previous studies.

The taboo system in the Song Dynasty was very strict, correspondingly, the academic notes of Scholars in the Song Dynasty also have a lot of taboo studies. These taboo studies have recorded a wealth of taboo materials of the past generation, which has high data value. Some of them are also good at textual research, and thus benefit the study of the later periods.But most of these studies Only record taboo materials and lack of innovation. Scholars are good at the induction of taboo materials and ignores the application research and theory construction of taboo. The reasons of taboo studies in the Song Dynasty have developed include cultural environment, the severity of the taboo in the Song Dynasty,and the adaptability between the notes genre and the characteristics of the Scholars’ taboo studies.

Recently the distribution of two tortricid moths, Hendecaneura impar (Walsingham, 1900) and Rhopobota orbiculata (Zhang, Li, et Wang, 2005) was reported from Korea (Kim et al. 2014; Kim et al 2015). Here, we discuss the external morphology including the male and female genitalia, life history including host plants and mitochondrial DNA data (CO1) of these two species.

Mirinae is the most diverse subfamily within the family Miridae (Hemiptera: Heteroptera), and includes more than 4,000 species. In Korea, mirids were first recorded from Jeju Island in the mid-1960s. Since that study, numerous plant bug species from the Korean peninsula have been newly recognized and described. Previously, 101 species of Mirini were recorded from Korean peninsula. In this study, we provide an additional information of Mirini in Korea with a description of new species and new records.

Samples were collected between August 2016 and May 2017 at Sangju-si, Gyeongsangbuk- do, Jeju-do, and Uljin-gun, Gangwon-do. As a result, one genus and six species were newly recorded in Korea. The unrecorded indigenous genus was Borzia, and the six species were Anagnostidinema acutissimum, Komvophoron bourrellyi, Hydrocoleum stankovicii, Borzia trilocularis, Phormidium tinctorium and Pseudanabaena lohchoides. Phormidium tinctorium and Pseudanabaena lohchoides had been reported to inhabit freshwater, but in this study, these were found in brackish water. It had also been reported that B. trilocularis trichomes are composed of up to 8 cells, but in this study, a maximum of 10 cells was observed.

보컬은 음정과 박자가 완벽하더라도 가사전달이 제대로 이루어지지 않으면 가사 의미가 정확하 게 전달되지 않는다. 이에 청중은 불편함을 느끼고, 객관적인 시각에서도 균형미를 갖춘 노래라 고 볼 수 없다. 따라서 기술적인 훈련과 함께 가사전달을 위한 발음훈련도 중요하다. 특히 받침 발음은 글을 혹은 가사를 소리 내어 발음할 때와 곡조에 따라 발음 할 때 각각 차이가 있으므로 이런 관점을 중심으로 연구하였다. 마야의 ‘진달래 꽃’을 기준으로 음표길이에 따라 각각의 발 음, 특히 받침 발음을 중점으로 분석하였다. 장르와 템포에 따라 딕션의 세기가 달라지고 가수마 다 구강 구조와 습관 및 가사 표현이 다르므로 받침 발음의 발음기호를 표준 할 수 없지만 이 연구 를 통해 음표 길이에 따라 모음 길이 및 연음 법칙이 변화된다는 결과를 도출하였다.

The family Coccidae Fallén, 1814, which is named soft scale insect, is recognized from Laos as twenty-two species including nine new records: Ceroplastes cirripediformis (Comstock, 1881), C. stellifer (Westwood, 1871), Coccus formicarii (Green, 1896), C. gymnospori (Green, 1908), C. hesperidum Linnaeus, 1758, C. latioperculatum (Green, 1922), Drepanococcus cajani (Maskell, 1891), Saissetia miranda (Cockerell & Parrott in Cockerell, 1899), and S. oleae (Olivier, 1791). A key to the Lao species of Coccidae is provided with diagnoses, photographs and host information for each species.

The genus Glyphodes Guenée, 1854 reported over 150 species in the world. They are widely distributed throughout tropical regions, with some species penetrating into subtropical and warm temperate areas. Five species of the genus Glyphodes Guenée are reported for the first time in Laos: Glyphodes actorionalis Walker, G. bivitralis Guenée, G. caesalis Walker, G. extorris Dognin, and G. stolalis Guenée. Photographs of adult, male and female genitalia, with short description