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주효숙 한국이어이문학회 2002 이탈리아어문학 Vol.11 No.-
Ho cominciato questa ricerca per la curiosita` di sapere se sia un elemento il quale prende in prestito da fuori del proprio ambito linguistico o se sia una coincidenza causale la parola AVI. Cercato di chiarirlo sul punto di vista della Grammatica Comparativa. Lascio aperta la possibilita` di essere sucesso il contatto culturale fra l'Antica Corea e l'Antica Italia in un certo momento storico. D'ora in poi si dovra` proseguire le osservazioni linguistiche piu` dettagliate. E riconfermato che l'ordine delle frase dell'italiano ha il carattere di non essere cosi duro come le altre lingue indo-europee per esempio come l'inglese per le variazioni richissime dei suffisi dell'italiano. L'italiano ha la ordine delle fasi in SVO ma si potrebbe mostrare la stessa struttura nelle varie forme come il coreano in SOV. Il significato esatto della parola italiana AVI e quella coreana e` diverso ma vorrei dire che questa differenza minuta fosse stata conformata nel momento di contatto fra le diverse popolazioni le quali la usavano e il cambiamento fine del significato fosse stato progresso nel passaggio di tempo. Ancora avrebbe bisogno di ricercare e di comparare in vari punti dei dialetti e poi potrebbe confermarlo con la sicurezza. Non c'e` dubbio la parentela linguistica fra la lingua altaico e la lingua coreana ma oggi nessun scienziato linguistico si puo mettere queste due in un unico origine della lingua. Lo studio comparativo della lingua coreana e italiana non e` facile e puo darsi che sia assurdo. Perfino mancano le materiali documentate con le quali possono sostituire la tanta differenza temporale. Considerando la possibilita` di contatto storico non in diretto fra la cultura coreana e italiana si dovra` continuare la ricerca sui diversi dialetti italiani e la comparazione strutturale nelle lingue coreane e italiane.
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Huo Meichen,Wang Lu 인하대학교 다문화융합연구소 2017 다문화와 교육 Vol.2 No.2
Under the national strategic framework of “Belt and Road”, the exchange and integration of Chinese films with geopolitical countries or regions have become a brand-new issue for the research of Chinese films and the development of film industry in the present and future periods. Centering on the mainland of China, Korea and Japan in Northeast Asia as main research categories, it is the core issue of this article to consider how to construct the possibility of the integrated development of Northeast Asian film market under the strategic thinking of “Belt and Road”. From the perspective of the cultural community of Northeast Asian films, it can be seen that Northeast Asian countries are confronted with contradictions such as the one between the inheritance and innovation of traditional culture and the transcendence of culture in the process of modernization. For Northeast Asian films, a narrative art for the general public, the topics such as how to build a symbolic system of its own and explore the possibilities of the transformation from tradition to modernity, how to obtain a new way of discourse management in the conflict between the traditional cultural concept and the modern life context and how to construct the cultural subjectivity of its own will become the core content of the construction of the cultural community of Northeast Asian films. Through the discussion from the three levels of “Chinese-barbarian system----modernity characteristic of Northeast Asian film culture, ethical aesthetics----anti-Hollywood representation of Northeast Asian film culture and humanistic feelings----common value of Northeast Asian film culture in coping with the crisis of modernity”, this article attempts to depict the possible development path of cultural community of Northeast Asian film from “why, what and what for”.
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Lysobacter panacihumi sp. nov., isolated from ginseng cultivated soil
HUO YUE,강종표,Joon Hurh,Yaxi Han,안종찬,MATHIYALAGANRAMYA,Chunhong Piao,양덕춘 한국미생물학회 2018 The journal of microbiology Vol.56 No.10
A Gram-negative, non-motile, aerobic, catalase-, and oxidasepositive bacterial strain, designated DCY117T, was isolated from ginseng cultivated soil in Gochang-gun, Republic of Korea, and was characterized taxonomically using a multifaceted approach. 16S rRNA gene sequence analysis revealed that strain DCY117T showed highest similarity to Lysobacter ruishenii CTN-1T (95.3%). Phylogenetic analysis revealed that closely related relatives of strain DCY117T were L. aestuarii S2-CT (95.1%), L. daejeonensis GH1-9T (95.0%), and L. caeni BUT-8T (94.9%). Diphosphatidylglycerol (DPG), phosphatidylglycerol (PG), and phosphatidylethanolamine (PE) were the major polar lipids of strain DCY117T. The major isoprenoid quinone was Q-8. The major cellular fatty acids of strain DCY117T were iso-C15:0, iso-C16:0, and summed feature 9 (comprising iso-C17:1 ω9c and/or 10-methyl-C16:0). Genomic DNA G + C content was 61.8 mol%. On the basis of our findings, strain DCY117T is a novel species in the genus Lysobacter. We propose the name Lysobacter panacihumi sp. nov., and the type strain is DCY117T (= KCTC 62019T = JCM 32168T).
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Integrated Experience : New Discussion on Media Aesthetic Education in the Internet Age
Huo Meichen 인하대학교 다문화융합연구소 2018 다문화와 교육 Vol.3 No.2
In this paper, the author takes the media aesthetic education in the Internet age as the studying object, human theory of Marxism as the philosophical foundation, and “integrated development of human” as the supreme goal, and looks into the discussion on connotation and practice approach of the media aesthetic education concept based on “integrated experience”. Through the interpretation of the concept of media aesthetic education, combining with the newborn typical Internet culture phenomenon in the Internet age, this paper discusses how the “integrated experience” guides the audience to cope with the mediatization survival crisis, to break the aesthetic consciousness with binary opposition and to cultivate diverse aesthetic tastes that meets the requirements for harmonic development of “human media social relations”, and to construct the media aesthetic values of “intersubjectivity theory” through aesthetic education. Moreover, this paper also explores the practical education value of new media art in the Internet age for improving aesthetic judgment of the audience and the comprehensive practice strategies of media aesthetic education for improving “aesthetic perception, aesthetic emotion, and aesthetic creativity” of the audience combining with typical Internet art text.
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