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장석호,이순희 한국환경기술학회 2022 한국환경기술학회지 Vol.23 No.2
Sulfur dioxide (SO2) is a colorless and highly toxic gas that is emitted during the combustion of compounds containing sulfur (S). It can also occur naturally during volcanic eruptions. SO2 is widely recognized as a toxic air pollutant and is one of the causative substances affecting the generation of secondary ultrafine dust such as particulate matter 2.5 (PM2.5). Our previous study (Chang & Lee, 2022) presents the observations on the recent changes in nitrogen dioxide (NO2) pollution in Seoul before and after the COVID-19 pandemic. This paper compares the average monthly SO2 densities in Seoul before and after the COVID-19 pandemic. The analysis produced the following results: (i) The average monthly SO2 density in Seoul decreased significantly in 2020 compared to that before the COVID-19 pandemic; (ii) The average difference in the SO2 monthly density in Seoul in the period from January 2021 to December 2021 and that from January 2020 to December 2020 is not statistically significant. In contrast to the studies that limit their discussions to average values, as that presented in a report by the Ministry of Environment in the Republic of Korea, the analyses of this study produced statistically valid results. These results could be partly interpreted as the effects of the partial resumption of the suspended non-industrial combustion plants in Seoul after the first half of 2020. Furthermore, the paper observes that the order-of-magnitude of the sample variances of monthly SO2 density in Seoul during recent three years (2021, 2020, and 2019) is -7. Finally, implications of the findings are delineated.
이미지 살해 -시베리아의 ‘술렉크스카야 피사니차’를 중심으로-
장석호 한국역사민속학회 2010 역사민속학 Vol.0 No.34
This writing treats Image Homicide question through damaged animal figures which are found in Sulekskaya pisanitcha located in northwest republic of Khakasiya. This writting is composed of Sulek petroglyph’s overviews, examples and categories of wilful damages, meanings of images in the prehistory arts, concluding remarks. I have taken a note of severely damaged animal figures in this petroglyph and compared then with other damaged examples of cave paintings, mobile arts, rock pictures, sculpture in various prehistory arts and classified them into several categories. Examining the existing interpretations on image homicide, trial hunting, and hunting rite, I explored the meaning of the images in prehistory and ancient hunting people’s basic culture. These are the three typical images of image homicide:1) Paintings of spears, arrows, harpoons within animal figures, 2) Animal figures or models, which are targeted for the trial hunting’s traces, and 3) Hunter’s disguisings as animals for hunting rites. The damaged figures in Sulek can be categoried into one of the three types. These behaviors are founded on the belief that spirits are embodied into the images and the drawings are alive to have the same power with the real creatures. Based upon this belief, prehistory and ancient hunting peoples have made images for their needs. Also they intended to acquire what they wanted by damaging the images. As we can find in examples such as taboos, imprecations, and burnings, concerned with images, beliefs of prehistory and ancient peoples on images are passed down into our lives. 이 글은 남부 시베리아 하카시아 공화국 서북쪽에 소재하는 술렉크스카야 피사니차(이하 ‘술렉크 암각화’로 표기) 속에서 살펴지는 훼손된 동물 형상을 통하여 이미지 살해의 제 문제에 관하여 논한 것이다. 글은 술렉크 암각화의 개관, 동물 형상의 고의적인 훼손 사례와 유형, 선사 미술에서 이미지의 의미, 맺음말 등의 순서로 구성되어 있다. 필자는 이 암각화 속의 일부 동물 형상들이 심하게 훼손되어 있는 점을 주목하고, 동굴벽화, 지닐미술(動産美術), 바위그림 그리고 조소 등 각종 선사 미술 가운데서 그와 유사한 사례들을 파악하여 그 유형을 분류하였다. 그런 다음 이미지 살해, 모의 사냥과 사냥 의례 그리고 그 의례에 대한 해석의 예 등을 차례로 검토하면서 선사 및 고대 수렵 어로민들의 기층문화 속에서 이미지가 무엇인지를 논하였다. 몸통에 화살과 창 그리고 작살 등이 그려진 동물 형상이나 동물 형상 또는 그 모형을 제작한 후 그것을 표적으로 삼고 벌인 각종 모의 사냥의 흔적 그리고 동물 가장을 하고 거행한 사냥꾼들의 사냥의례 등은 모두 이미지 살해의 전형들이며, 술렉크 속의 훼손된 동물형상도 그 가운데 한 가지이다. 그러한 행위의 밑바탕에는 이미지 속에 영(靈)이 깃들어 있고, 그런 까닭에 그것은 살아 있으며 또 실물과 같은 힘을 갖고 있다는 믿음이 깔려있었다. 이러한 인식에 의거하여 선사 및 고대 수렵 어로민들은 필요에 따라 이미지를 만들었으며, 또 그것을 훼손하는 등의 살해 행위를 통하여 그들이 원하는 바를 얻고자 하였다. 이미지와 관련한 각종 터부나 무고(巫蠱) 그리고 화형식 등의 예를 통해서 살필 수 있듯이 선사 및 고대 수렵 어로민의 이미지에 관한 믿음은 아직도 그 잔형이 우리들의 생활 속에 면면히 전승되고 있음을 확인할 수 있다.
장석호 한국몽골학회 2015 몽골학 Vol.0 No.43
This article focuses on the images of mounted warriors depicted in the ancient rock art (the Huns – Turkic Period) of Central Asian region, where the Altai mountains stretch across. With the rise of the Hunnic Empire, the new types of motifs, styles, and techniques were introduced in the ancient art of Central Asia. The good example of this is the portrayals of mounted warriors. Warriors usually wear helmet and armor, hold a long spear or flag, and depicted as having a battle with one another. Sometimes one can find warriors riding armored horses. The images are mainly engraved in thin lines. The legs of horses are portrayed as walking fast or running. One of the foreleg of the horse stretches forward, while the other kneels down. The hind legs are crossed together. The images that embody such motifs, styles, and techniques can be found in the ancient rock art of Shinskino (Russia), Gorno Altai (Mongolia), Eastern Kazakhstan, and Kyrgyzstan. They can also be found in the ancient tomb murals of Korea’s Goguryeo Kingdom. These are the images of cavalry (mounted warriors riding armored horses) discovered in Anak Tomb no 3, Deokgunegri Mural Tomb, and Myuyongchong. As such, these were the main motifs of the ancient art for almost 10 centuries, which was from 3 B.C to 7 A.D. By studying these images, one can grasps the fact that Central Asia during this period was undergoing severe regional and ethnic conflicts. At the same time, the images confirm that Korean ancient art, including that of Goguryeo’s, shares the common root with the Northern Nomads’ art.