본 연구는 서식 환경에 따라 구분된 3화기 미국흰불나방(Hyphantria cunea Drury)을 숙주로 하는 기생파리의 종과 기생률의 차이를 확인했다. 조사 기간은 2023년 10월 24일부터 29일까지로, 방제를 실시한 서천군 국립생태 원과 방제를 실시하지 않은 군산시 근린공원에서 숙주인 미국흰불나방의 유충을 채집하였다. 유충은 기주식물 인 수국을 급여하여 실내 개별 사육하였다. 각 조사지에서 미국흰불나방의 기주식물은 국립생태원에서 8종, 근린공원에서 6종이 확인되었다. 총 숙주 380마리 중 기생파리는 106개체로 총 27.9%의 기생률을 보였고(유충 92개체, 미동정 알 14개체), 기생률은 근린공원이(39.6%) 국립생태원(12.5%)보다 더 높았다. 성충의 우화율은 63.0%로, 동정 결과 4속 92개체가 나타났다. 전체 종과 가장 많은 개체가 확인된 Exorista japonica (Townsend, 1909)의 조사지에 따른 유충 생존율과 성충 우화율은 모두 근린공원이 더 높은 것으로 확인 되었다. 조사결과 E. japonica가 미국흰불나방의 생물적 방제제로 유효할 것이라 판단되며, 근린공원에서의 더 높은 기생파리 유충 생존율과 성충 우화율을 통해 인간에 의한 교란이 적은 환경에서 기생파리를 이용한 미국흰불나방 방제가 더 효과적일 것이라고 고려된다. 또한 숙주의 생존율과 기생파리의 우화율을 비교한 결과 해충 방제가 이뤄지지 않는 환경에서 천적 개체군이 유지될 가능성이 더 높다고 사료 된다.

꼬막은 해양 어업으로써 아시아 전 지역에 있어서 중요한 수산자원 중 하나이다. 하지만, 공장 의 산업화, 해양 환경오염, 그리고 지구 온난화로 인해 해양 어업 생산량이 급격히 떨어졌다. 우리나라 남해안의 주요 수산자원인 꼬막의 유전적 특성을 파악하기 위하여 꼬막의 전장유전 체를 해독하고 염색체 서열을 규명하였다. 915.4 Mb의 게놈을 조립하였고, 19개의 염색체 유전자 서열을 식별하였다. 꼬막의 유전체에서 25,134개의 유전자들을 확인하였고, 그 중에 22,745개 의 유전자들에 대한 기능을 확인했으며, 4,014개의 유전자들에 대한 KEGG pathway를 분석하 였다. 꼬막유전체와 8종의 다른 패류와 비교유전체 분석을 통하여 확장/감소(gene gain and loss) 분석을 수행한 결과, 725개의 유전자군의 확장과 479개의 유전자군의 감소를 확인하였다. 꼬막의 homeobox 유전자 클러스터는 촉수담륜동물 내에서 잘 보존된 유전자 구조를 보였다. 또한, 꼬막은 3개의 hemoglobin 유전자들이 피조개의 hemoglobin과 높은 유사성을 보였다. 꼬막의 전장유전체 정보를 통해 꼬막의 환경 적응과 진화의 유전적 특성과 생리적 특성뿐만 아니라, 꼬막 양식의 효율성을 높이는 양식산업에 널리 이용될 수 있는 유전적 정보를 제공 할 것이다.

Within marketing and consumer research, scholars have explored cross-cultural issues, and found that most of the studies are sociologically based and assume intra-cultural homogeneity in mentality and logic among people (Fatehi, Kedia & Priestly, 2015). Research has also explored how acculturation in circumstances of hyperfiliation influences cross-cultural consumption (Bradford & Sherry, 2014). The issue of particular importance within this study is the situation of cultural mixing that takes place when migrants and refugees grow their families away from their home country, and how individual and family identity values are renegotiated given ethnic ties that bind the older generation, and the non-ethnic ties in the host country and amongst the future generations. These ethnic and non-ethnic ties influence the acculturation process (Capellini & Yen, 2013) and re-acculturation process. Given increasing migration across many countries, it becomes important to understand the transcultural experiences of both refugees and migrants, as they mix with the host country’s cultural practices. We take the view that transculturality is an illustration of “the complex relationships between and within cultures today: it emphasises not isolation but intermingling, not separation but disjunctive interactions, not homogenization but heterogenization” (Jung, 2010, p.19). The intermingling of multiple cultures, inevitably has implications on consumption decisions, particularly in cases where many children have been born in the diaspora. Whilst previous studies have explored acculturation as a static and linear process (Chrikov, 2009), our study takes the view that cultural identity formation and it’s resulting cultural orientations are an ongoing, fluid, hybrid and iterative project. Therefore, the objectives of this study are to: (1) explore how cultural identity processes are negotiated by third generation UK born British Sikhs. Here, we focus on 3rd generation British Sikhs with the intention of understanding how hybrid identities emerge, and how these impact on consumption decisions; (2) explore the acculturation and re-acculturation patterns of 3rd generation British Sikhs. It is our contention that the online environment offers opportunities to explore identity projects for those born in the diaspora.

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People’s Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of ‘Korean’we usually consider ambiguous, and prompts careful attention to the silence of ‘some Koreans’forced to live against their will in the blurred boundaries between nation and people. This dissertation regards ‘Koreans’who came to live in the border of nations, especially ‘Korean-Japanese third generation women artists’ who are marginalized both Japan and Korea. It questions the category of ‘Korean women’s art’that has so far been considered, based on the concept of territory, and presents a new perspective for viewing ‘Korean women’s art’. Almost no study on Korean-Japanese women’s art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of ‘Korean women’and ‘Korean women’s art’ considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority’s diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist’s cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual’s historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with post-colonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women’s art.

Combined oral contraceptives (OCs) are a common method of contraception; however, they are associated with a twofold to sixfold increased risk of venous thrombosis (VT). The association between estrogen-containing OCs and VT is well established. After the first generation progestogens, new progestogens were developed. However, the risk of VT is higher for users of OCs with third generation progestogens than for those using second generation progestogens. We experienced a patient, a 25-year-old young woman with chest pain after taking third generation OCs. We performed chest computed tomography (CT) and lower extremity venogram CT. She was diagnosed with a pulmonary thromboembolism and deep vein thrombosis. She was treated with low molecular weight heparin and warfarin for six months. We report on this case with a review of the relevant literature.

Technological and organisational changes in transport system have introduced new dimension into port system development and inter-port competition. The quality of service now required by the customer is costly and not easily provided by small shipping companies and small ports. It has been suggested that in the future container shipping may be concentrated by space-sharing arrangements or actual mergers into the hands of a few mega-operators with the investment potential to provide total logistics networks. In order to compete effectively, high load factors will be essential and port concentration inevitable. A fa-voured few ports will become the load centres and other ports will assume a secondary feeder role. In this study, three questions are raised and attempts are made to answer them : (a) what is the new role of ports today ; (b) why should ports be engaged in this new role ; and (c) how can ports play this new role. In short, a modern port should be a service centre and a logistic platform for international trade and transport-a third generation port. Ports, in particular, have to make every effort to be competitive in the cost and quality of services and to make the port a transport and distribution service centre. For most ports, this is not an option but a must ; an essential requirement for survival in this win or lose situation. The best way to win is to maintain a close contact with port users, listen to them, discuss with them, help them and satisfy them. That is port marketing. Starting from the findings of port marketing, it is es-sential to work out appropriate development plans and marketing targets and to improve port competitive-ness. As an alternative method, a port competitiveness model is suggested, which may help port managers to make appropriate improvements.