미셸 판데르아(Michel van der Aa, 1970-)의 오페라 ≪기억의 재구성≫(Blank Out, 2015-2016) 은 디지털 테크놀로지로 다변화되는 21세기 동시대 오페라를 이해할 수 있는 중요한 단초를 제공 한다. 2016년 초연된 이 작품에서는 가족의 익사를 목격한 주인공의 트라우마를 집요하게 추적하 면서 무의식에 침투한 상실의 감정을 정교한 테크놀로지로 구현하는 시도가 나타난다. 그러나 이 작품에서 주목할 점은 결코 관객의 시각을 현혹하는 화려한 기술이 아니다. 오히려 이 작품은 첨 단의 테크놀로지를 매개로 가족을 잃은 등장인물의 심리적 외상을 심층적으로 표현하고 있다. 본고에서는 오페라 ≪기억의 재구성≫에서 동시대의 진보된 테크놀로지를 활용하여 ‘트라우마 와 기억’이라는 주제를 재현하는 독특한 내러티브 구조와 연출방식에 주목한다. 본 연구는 인물의 복잡한 심리에 탐닉하는 판데르아의 작품세계와 더불어 기술의 확산에 따라 동시대 공연예술 및 오페라에 나타난 변화를 짚어보는 것으로 출발한다. 이후 주인공이 겪는 트라우마 심리에 조응하 는 순환적 구성을 조명하고, 무대와 스크린을 활용하여 실재와 가상, 기억과 현실, 영화와 오페라 의 경계를 가로지르며 작품의 모티브를 형상화하는 연출 방식을 분석한다. 이를 통해 본 연구는 다양한 미디어를 활용하면서도 기술에 함몰되지 않고 전통 오페라에서 표현하기 어려웠던 심리적 주제를 구현해내는 동시대 오페라의 극적인 상상력을 탐색해본다.

“Thien tu van” is one of the most classic books about learning Chinese in the primary stage in China. Since Chinese was promulgated through neighborhood including Vietnam, “Thien tu van” was popularized and became one of the important learning Chinese books for Vietnamese in the ancient times. From the view of writing identity, the writing is about initially researching and finding out popularization situation and “Thien tu van” usage in Vietnam by analyzing writing quantity and writing form popularization in order to reflect aspect of learning Chinese situation of Vietnamese in ancient times as well as contribute reference value for learning Chinese approach of Vietnamese in modern times.

본 연구는 루드비히 판 베토벤(Ludwig van Beethoven)의 음악사 문제를 논의로 삼고, 그 현상을 기억이론의 맥락에서 논의하였다. 빈악파 그리고 빈 고전주의의 구성원으로 조명 받는 베토벤은 사회적으로 음악적으로 분분한 이견을 초래함에도 여전히 기존의 패러다임에 머물러 있다. 이것을 문화인류학자 알라이다 아스만(Aleida Assmann)의 기억이론을 바탕으로 살펴보고, 동시에 사회적, 음악적 관점에서 그 해석을 뒷받침하고자 하였다. 베토벤 음악은 ‘빈’이라는 특별한 장소의 문화적 기억으로 전승되었고, 빈 귀족사회의 후원과 하이든(Franz Joseph Haydn), 모차르트 (Wolfgang Amadeus Mozart)의 음악 행보가 베토벤을 더욱 18세기 고전과 연결시키는 결과를 초래했다. 나아가 음악사 서술에서 아스만이 주장한 기능기억과 저장기억의 상보작용이 음악사 서술의 해결방안이 될 수 있음을 논의하였다.

The Science and Religion is a Christian apology that was written in response to the intellectual discourse of the 1920s, when materialistic socialism was rapidly propagated to intellectual youth as scientific discourse. Van Buskirk, a professor at the Severance Medical Research Department, combines the ideology of science, which was a qualification for knowledge, with Christian doctrine. In this way, Buskirk's text constitutes a Christian social evolution theory. Specifically, the narrative frame of Darwinism, which had already been approved by science, is dedicated to selectively combine the doctrine of salvation, soul, love, and sacrifice. With this, it criticized the materialism and the mechanical determinism of materialistic socialism which has emerged as a dominant discourse, and built a discourse that would cope with it. It thus provides an important key to identifying the role of Christianity in the formation of knowledge discourse in the 1920’s.

The genus Periphyllus has been revised as seven species in the Korean Peninsula. Recently, Periphyllus hokkaidensis Sorin 1990 is newly discovered on the young shoot of Acer mono subsp. okamotoanum in Ulleung Island. This is the first record found P. hokkaidensis in other areas except Hokkaido, its origin region. As the result of this study, we announce totally eight species in this genus and present description and illustration of P. hokkaidensis with apterous viviparous females.

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that “less is more” in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

Frank Lloyd Wright and Mies van der Rohe are two of the most influential architects in modern architecture. In spite of the different values in their architectural lives, the design of high-rise building had been a continuous matter of primary concern for them. The purpose of this study is to compare the architectural characteristics of the two master architects in terms of building form, structure, function, and envelop skin. glass. Both of them shared with the principle of organic architecture even in the design of high-rise buildings. However, the specific approaches to realize it in high-rise buildings are significantly different. Although they emphasized the integration of building form and structure, Wright regarded the reinforced concrete structure as an organic form-giver, while Mies introduced the steel skeleton structure only as an efficient and flexible building frame. As primary finishing materials for high-rise buildings, glass was used for functional purpose by Wright, but for visual purpose by Mies.

제주도의 감귤, 육계나무, 홍가시나무에서 현재까지 국내에 알려지지 않았던 진딧물 Sinomegoura citircola(van der Goot, 1917)가 확인되었다. 무시형 산자충 및 유시형 산자충의 외부형태에 대해 도면과 함께 기술하고, 분포지역 및 기주식물 정보를 제공한다. 또한 유시형과 무시형의 중간형을 띄는 개체에 대해 처음으로 보고한다. Sinomgeoura 속은 한반도에서 처음으로 기록되는 속이다.

This study aimes to understand the principles in Theo Van Doesburg's architectural concept. Generally, Theo Van Doesburg has been thought that he betrayed De Stijl by acting contrary to the Neo-Plasticism which was constituted in early De Stijl by Mondrian and himself and by suggesting opposite one, Elementarism. Therefore this study tried to understand the principles that make his architectural concept, confirming the background of Elementarism. After studing relation, which Theo Van Doesburg has used, between space and color, it is concluded that he has unchanged principles of architectural concept from early De Stijl to last, opposite to general appreciation. So, Theo Van Doesburg acted to maintain equilibrium that exists for balancing the two elemental forces which contrast each other in relation between space and color. The equilibrium which he looked for aims to constitute harmonized dynamic space by dynamic rythem of equilibrium instead of Neo-Plastic effect. And using color, which used to be producing dynamic effect, he intended to maintain static effect for making dynamic rythem of equllibrium by the principles he made.

에 의한 살충제 저항성 사험결과 지역에 따라 pirimicarb가 49~830배 phosphamidon이 31~536배, demeton S-methyl이 5~204배의 약제 저항성이 확인됨으로서 사과에 조팝나무진딧물이 포장에서 방제결과가 없는 난방제해충이 되었음을 알 수 있다. 이와 같이 약제에 따라, 지역에 따라 저항성차가 크게 나타나는 원인을 공시충을 채집한 과수원의 살충제 산포상황을 조사한 결과 저항성이 가장 높았던 예산과 이천-1의 개체군을 채집한 과수원에서는 살충제를 4회 이상산포하였고, 저항성이 가장 낮았던 개체별 esterase 활성을 활성지수별로 분포비율을 비교한 결과 활성지수가 원주는 낮은 곳에, 이천-1과 예산은 높은 곳에 집중적으로 분포하였으며, 효소의 활성지수로써 저항성도를 계산한 결과 원주는 44.5, 이천-1과 예산은 92.0이었고 기타의 개체군들은 약제산포회수가 적어 이 사이에 모두 분포하였음을 알 수 있어 포장에서 약제산포회수가 많을수록 효소의 활성이 높게 나타났고 저항성비도 높았다. 이들중 광주(조팝나무)를 S크론, 과천(사과)을 R크론으로 하여 AChE의 조해제에 대한 감수성을 조사한 결과 pirimicarb는 299.2배, phosphamidon은 186배나 저하되었다. 이로써 약제저항성이 높았던 크론에서 에스테라제의 활성이 높았고, AChE의 감수성이 저하되는 것으로 보아 조팝나무진딧물의 약제저항성기작에는 적오도 두가지 이상의 요인이 작용하고 있음이 확인되었다.

사과의 조팝나무진딧물의 수종 약제에 대한 야외 개체군의 감수성을 조사하였다. 1983년부터 1987년까지 사과원에서 피리미카브외 9약종에 대한 약효시험결과 연도별, 지역별에 따라 현저한 감수성 차이를 보였는데, 서울등 4개 지역에서 사과나무에 발생한 진딧물에 대한 약제감수성을 조사한 결과 지역별로 디메톤에스메칠과 포스파미돈이 차가 크게 있었고, 약제별 TEXLC50/TEX을 델타메스린과 크로르피리포스가 10ppm 이하였으며, 디메톤에스메칠, 아세페에트, 포스파미돈, 모노크로토포스, 바미도치온은 103~629ppm이었고, 가장 오래 사용하였던 이피엔과 피리미카브는 1000ppm이상이었다. 또한 약제저항성 정도를 조사하기 위하여 감수성 크론과 저항성 크론을 침지법으로 처리하여 저항성비를 조사한 결과 포스파미돈은 73배, 파리미카브는 546배의 저항성이 유발되었으며, 감수성 크론과 저항성 크론에대한 효소활성을 -NA를 기질로해서 한천겔 전기영동법으로 효소활성을 조사한 결과 감수성 크론에 비하여 저항성 크론은 E-2, E-5, E-6, E-7의 활성이 현저하게 높았다. 따라서 조팝나무진딧물의 살충제에 대한 감수성 저하는 에스테라제의 활성도에 기인하는 것으로 생각되나 다른 원인도 배제할 수는 없다.

It is suggested that magnetosonic waves (also known as equatorial noise) can scatter radiation belt electrons in the Earth’s magnetosphere. Therefore, it is important to understand the global distribution of these waves between the proton cyclotron frequency and the lower hybrid resonance frequency. In this study, we developed an empirical model for estimating the global distribution of magnetosonic wave amplitudes and wave normal angles. The model is based on the entire mission period (approximately 2012–2019) of observations of Van Allen Probes A and B as a function of the distance from the Earth (denoted by L*), magnetic local time (MLT), magnetic latitude (λ), and geomagnetic activity (denoted by the Kp index). In previous studies the wave distribution inside and outside the plasmasphere were separately investigated and modeled. Our model, on the other hand, identifies the wave distribution along with the ambient plasma environment—defined by the ratio of the plasma frequency (fpe) to the electron cyclotron frequency (fce)—without separately determining the wave distribution according to the plasmapause location. The model results show that, as Kp increases, the dayside wave amplitude in the equatorial region intensifies. It thereby propagates the intense region towards the wider MLT and inward to L* < 4. In contrast, the fpe/fce ratio decreases with increasing Kp for all regions. Nevertheless, the decreasing aspect differs between regions above and below L* = 4. This finding implies that the particle energy and pitch angle that magnetosonic waves can effectively scatter vary depending on the locations and geomagnetic activity. Our model agrees with the statistically observed wave distribution and ambient plasma environment with a coefficient of determination of > 0.9. The model is valid in all MLTs, 2 ≤ L* < 6, |λ| < 20°, and Kp ≤ 6.