조제프 말로드 윌리엄 터너의 <노예선>은 인간 경험의 극적이고 감정적인 측면을 포착 하는 사례다. 1840년에 완성된 이 작품은 격렬한 폭풍 속에서 노예가 된 아프리카인들이 배 에서 밖으로 던져지는 비인간적인 장면을 묘사한다. 또한 이 작품은 대서양 횡단 노예무역의 잔인성과 경제적 이익을 위한 인간 착취의 윤리적 의미에 대한 회화적 증언이다. 그러나 노 예무역의 열악한 환경은 종 호 사건은 물론 노예무역을 둘러싼 복잡한 법적 문제를 발생시 켰다. 본 연구는 <노예선>이 ‘노예제 폐지’나 ‘노예무역폐지’와 같은 사안들과 결합하는 과정 에서 파생되는 메시지를 어떻게 시각적으로 형상화시키고 있는지를 사회사적 관점에서 분석 한다. 이를 통해 노예제도에 함축된 정치경제적 맥락과 작가의 조형 의식 형성 간의 관계성 을 조명하여 터너의 작품 세계에 대한 기존의 인식론적 지형도를 확장시키는데 집중한다.

The subfamily Nitidulinae in Korea is reviewed with a pictorial key to species. In total, 30 species of 18 genera are recognized including three newly recorded genera, each with one species respectively: Nitidula rufipes (Linnaeus, 1767), Stelidota multiguttata Reitter, 1877 and Hebasculinus japonus (Reitter, 1877). Pictorial key to tribes, genera and species with illustrations of habitus are provided.

북미지역에서 저장곡물해충으로 잘 알려진 거저리과의 북미쌀거저리[Cynaeus angustus (LeConte)]가 국내 여러 정미소에 발생하고 있음을 새롭게 보고하며, 이 미기록종에 대한 성충과 유충 사진 및 진단형질과 저장산물을 검역하는 과정에서 검출되는 거저리과 해충 17종에 대하여 도해 검색자료를 제공하였다.

Pictorial key to pupa of the genus Olenecamptus in Korea is provided. This study was carried out with pupa of five species in Korea: Olenecamptus formosanus Pic, 1914, Olenecamptus octopustulatus (Motschulsky, 1860), Olenecamptus clarus Pascoe, 1859, Olenecamptus cretaceus cretaceus Bates, 1873 and Olenecamptus subobliteratus Pic, 1923. The description of life cycle and host-plant of the genus Olenecamptus are also given.

Based on dual coding theory, this study predicted that pictorial typography (PT), a device involving direct visual integration of a written word into a picture of its referent, is more effective for ESL children’s pre-literacy skills, than the non-integrated paring of word and picture on flashcards (FC). The two types of instruction were given to thirty-two Korean children aged six and seven, both embedded within the WordWorld (WW) episodes, an animated TV series developed by PBS. Results from the pre- and post-test design were as follows. PT was more beneficial than FC for the two upperlevel skills, vocabulary and reading fluency, while they were equally beneficial for the two lower-level skills, letter recognition and phonemic awareness. The two mediating variables, gender and age, were shown to have partial effects as well. Dual coding theory and the importance of instructional intervention have been supported by this study.

The works of Eric Fischl(1948-) have plainly or suggestively exposing private problems such as alcholism, voyeurism, and masturbation, he has paid attention to 'confidential and morbid desires embedded in the richness of American middle class' and thereby he has been paid attention to. However, the aspect of 'pictorial narrative' in his works, which he himself has mentioned in a number of interviews, have hardly been highlighted. From his early works of mid-'70s to recent series, Eric Fischl has introduced varied modes and techniques to express narratives of his own. Based on both his works and his remarks concerning narrative, this study tries to examine what his 'pictorial narrative' is, through what modes it has developed, and how it is revealed in the works. For that purpose, it applies the narrative theory of Seymour Chatman to the analysis of his major works, and partly puts into consideration those of Shlomith Rimmon-Kenan, Gerard Genette, and Roland Barthes. In the mid-70s, Eric Fischl tries to create his story by putting words into his glassine works like a pictorial poem. Thereafter, in 1980s, Eric Fischl develops his pictorial narrative in more varied ways. His series show traditional narrative features including classical narrative factors and storytelling under a plot. However, despite those features, his works get out of the traditional narrative structure on the ground of the absence of clear directions and inexplicit storytelling. In his next series, the irregular appearance of a person, the absence of order, and the ambiguity of cause and effect induce the viewers to participate in the works and recreate their own texts. Eric Fischl rejects a closed structure in which the conclusion is suggested unilaterally by an artist, building up his own narratives in an open structure. For that purpose, by establishing intended absence of information, lapse of time, variability of a meaning and time change, he stimulates the viewers to fill the blanks for themselves in the recognition of the shortage of analytic clues. These contrivances shown in Fischl's works mean an open text, getting out of the separation between the artist who dominantly delivers the meaning and the viewer who passively reads the works. That is, the viewers are invited to actively participate in the story, restructuring the narrative. In those respects, it is not ignored that some features of Post-structuralism are inherent in his works. The existing studies on Eric Fischl have focused largely on the psychoanalytical features. Against it, this study analyzes Fischl's works in the perspective of narrative analysis based on the theories of Structuralism. In the result, this study finds that the works of Eric Fischl not only have narrative factors of Structuralism to deliver his stories, but they also aim to an open-ended structure to widely communicate with the viewers, thereby extending the narrative territory into Post-structuralism.

A pictorial key to total 46 species belonging to 15 genera of two subfamilies in the family Cyclopidae is provided as a result of the serial researches on the freshwater cyclopoid copepods in South Korea.

A pictorial key it presented for the identification of adult mosquitoes of 2 sub families of Culicidae, 2 genera of Anophelinae, 38 genera of Culicinae, 22 subgenera of Aedes and 20 subgenera of Ochlerotatus. Scanning electron micrographs (SEM) demonstrate the taxonomic characters used in the key.

대한민국 등대의 역사는 일제가 국외 침략을 목적으로 한반도에 설치한 것에서 시작되었다고 알려져 있다. 이러한 주장에 따르면 1903년 인천에 처음으로 등대가 설치된 이래 일제 강점기를 거치면서 근대적인 항로표지시스템이 구성되었다는 것이다. 그러나 이 점에 대해 서는 좀 더 신중하게 고려할 필요가 있다. 국제 항구의 도시로서 그리고 초량왜관의 도시로서 부산은 15세기 초 이래로 한일 외교관계의 중심 지였다. 그렇기 때문에 이미 오래전부터 부산에는 해상 국제교류를 위한 항만시설이 발달되었다. 그럼에도 불구하고 지금까지 해양에 관련된 역사자료가 부족하고 기초연구가 미비하여 올바른 역사를 정립하는 것이 어려운 실정이었다. 최근 들어서 부산해관 고문서의 번역이 마무리 되었고, 초량왜관 관련 고지도들을 집성한 자료가 편찬되면서 보다 객관적인 부산의 역사를 정립할 수 있게 되었다. 이러한 맥락에서 본 논문 은 고지도와 문서들을 통하여 오래된 국제 항구도시 부산의 초량항에 초점을 두고 부산 항로표지의 기원에 관하여 고찰하고자 한다.