장기표면의 내외봉한관과 봉한소체의 형태학적 관찰

안성훈 ( Seong Hun Ahn ),김민수 ( Min Su Kim ),이상훈 ( Sang Hun Lee ),권오상 ( O Sang Kwon ),김재효 ( Jae Hyo Kim ),소광섭 ( Kwang Sup Soh ),손인철 ( In Chul Sohn ) 대한경락경혈학회 2009 Korean Journal of Acupuncture Vol.26 No.1

Objective: In 1960`s Bonghan Kim`s team found BongHan(BH) ducts which were presumed as acupuncture meridians and BH corpuscles. They asserted Bonghan theory and SanAl theory which was involved in cell division and cell restoration. However, many other experiments which had been operated to demonstrate and find the existence of BH ducts had failed because of the secret of blue stain drugs. During the last several years, BongHan theory has been revived through experimental researches to find the anatomical structures of BH ducts and corpuscles by Soh`s Biomedical Physics Lab. Soh`s research team used the staining with Janus Green B, Alcian blue, nanoparticles and Acridine Orange. We used DAPI staining to find the existence of BH ducts and the corpuscles and to observe nuclear arrangement. Methods: We used japan white rabbits as experimental animals. BH ducts and corpuscles were stained with DAPI. The nucleus configuration in BH ducts stained with DAPI were observed with microscope. Results: In this study, we found thread like structures in silver white color distinguished from the blood vessels, nerves and lymph vessels. These thread like vessels in the linear duct shape were connected to same colored mass in the ball shape. Thread like structures we found could be separated easily from the surrounding other organ mass. The nuclei of the thread like structure in DAPI staining, are about 10~20㎛ length, in rod shape and linear arrangement. Conclusion: We concluded that the thread like structure we found was same vessel reported by Soh`s research team, BongHan ducts and corpuscle.

靑山別曲小考

徐首生 慶北大學校 師範大學 1963 敎育硏究誌 Vol.1 No.-

Well-known this poem is, the author and the age of composing Chung-San Beul-kok, together with Soh-Kyong Beul-kok(西京別曲) and Ka Shi Ri(가시리) in the Beul-kok literature of Koryo dinasty, are unknown. It can be presumed that it might have been composed by a common hermit at the time of King Ko-jong(高宗). Similar to the contemporary folk songs, the meter of this poem consists of mainly three-three-two (3.3.2.) rhythm. It expresses well the thought of a recluse immersing in nature. Some questional points in annotating the text are as follows: (가던새 본다-kadon seh bonda)……see the birds flying (새-seh)…a bird. (본다-bonda)……is the present form of(보다-boda). (잉무든 장글란-ingmudon Changgiran)……objective case of "the fishing rod which used to bite (angle for) carps (잉무든-ingmudon)……used to bite (fish with rod and line) carps (장기-changgi)……a fishing rod. (지내와 손뎌-chinewa sondio)……though we passed the time. (에졍지-aezungzi)-O! Zong-Zi(宗智) (가더니-kadeuni)-full, neatly The cotents of this essay are: 1. Preface 2. The meaning of Beul-kok and Chung-San Beul-kok 3. The age and the author of composing Chung-San Beul--kok 4. Questionable points in annotating Chung-San Beul-kok 5. Contents and thoughts of Chung-San Beul-kok 6. Forms and Rhythmical beauty of Chung-San Beul-kok 7. Conclusion

New approaches for micro-controlling of oxygen dopant contents in silicon-based thin films with application to multi-band gap solar cells

So, H.,Jang, J.,Lee, D.,Hong, M. Elsevier 2012 Current Applied Physics Vol.12 No.suppl4

Using the neutral-beam-assisted chemical vapor deposition (NBaCVD) system [5-12], an alternative technique that can control the oxygen doping in a silicon-based thin film has been developed. This brand-new technique has the ability to controlling of optical band gaps by micro-control the oxygen dopant concentrates in the nc-Si thin films. This control of the oxygen doping results in self-biasing on the internal antenna of an inductively coupled plasma (ICP) source; it also results in the hydrogen neutral beam (NB) energy being adjusted by the reflector bias. The oxygen atoms are supplied from the sputtering of an internal ICP antenna covered by a quartz tube and are eliminated by the energetic hydrogen NB in the NBaCVD system, rather than by a mass-flow-controller (MFC) used in conventional CVD. These results are observed via Fourier Transform Infrared Spectroscopy, X-ray Photoelectron Spectroscopy, Secondary Ion Mass Spectroscopy and UV-visible data. The result of this experiment allows the fabrication of multi-junction solar cells with gradually varying optical band gaps.

SIZE OPTIMIATION OF AN ENGINE ROOM MEMBER FOR CRASHWORTHINESS USING RESPONSE SURFACE METHOD

S. OH,B.-W. YE,H.-C. SIN 한국자동차공학회 2007 International journal of automotive technology Vol.8 No.1

The frontal crash optimization of an engine room member using the response surface method was studied. The engine room member is composed of the front side member and the sub-frame. The thicknesses of the panels on the front side member and the sub-frame were selected as the design variables. The purpose of the optimization was to reduce the weight of the structure, under the constraint that the objective quantity of crash energy is absorbed. The response surface method was used to approximate the crash behavior in mathematical form for optimization procedure. To research the effect of the regression method, two different methodologies were used in constructing the response surface model, the least square method and the moving least square method. The optimum with the two methods was verified by the simulation result. The precision of the surrogate model affected the optimal design. The moving least square method showed better approximation than the least square method. In addition to the deterministic optimization, the reliabilitybased design optimization using the response surface method was executed to examine the effect of uncertainties in design variables. The requirement for reliability made the optimal structure be heavier than the result of the deterministic optimization. Compared with the deterministic optimum, the optimal design using the reliability-based design optimization showed higher crash energy absorption and little probability of failure in achieving the objective.

Fast motion estimation using modified diamond search patterns

So, H.,Kim, J.,Cho, W.-K.,Kim, Y.-S. IEE 2005 Electronics letters Vol.41 No.2

A fast block motion estimation algorithm is proposed using modified diamond search patterns. This algorithm utilises the directions and magnitudes of motion vectors between interblocks and uses a smaller number of search points than conventional diamond search patterns. Simulation results show that the proposed method significantly improves computational speed over other fast motion estimation algorithms without degradation of distortion.

건설업 하도급관계의 법적 쟁점과 개선방안 : Legal Issues and Implications for Improvement

김소영 한국노동법학회 2004 노동법학 Vol.0 No.19

This article describes the legal issues which arise in the subcontracting system of the construction industry: it identifies the legal characteristics of each contract between 1) head contractor (builder) and principal subcontractors, 2) principal subcontractors and foreman, and 3) foreman and dally workers. Especially, since the contract between head contractor (builder) and principal subcontractors is ruled by business law, i e, Basic Law on Construction Industry, Fair Trade Law on subcontracting. etc the paper considers the implication for the amendment of these laws as well Problems with Camouflaged subcontracting system are related to the poor working conditions and job instability of the daily workers employed by the subcontractors or foreman of subcontractors. It is based on the low bidding price in the multistage subcontracting system and the shirking responsibilities as an employer of subcontractor It should be possible to decide the subcontract as a camouflaged subcontract if the subcontractor is not independent in controlling its employees in labour management or personnel management, or do not have management prerogatives The foreman is regarded as guideline of the Ministry of an employer of daily workers by the Labor, but the status of foreman is different according to the various actual conditions of company. If the foreman is simply the employee of the subcontractor, the subcontractor should be regarded as an employer of the dally workers who are employed by the foreman regardless of the surface of the contract. Therefore, it is important to clarify the legal status of foreman in the construction field to protect the dally workers In respect to collective bargaining, It can be considered to permit bargaining between the construction union and head contractor(builder), because head contractors ordinarily influence the level of wage of workers in the subcontracting system Subcontractors can decide and pay the wage of workers in the range of Its construction fee which is decided by the bidding price of construction. In fact, the subcontractor has no power to enhance the workers' wage and working conditions

미국의 근로자재해보상제도의 보상책임구조와 업무상 재해의 요건 : Requirements of Work Connected Injury

김소영 한국노동법학회 2004 노동법학 Vol.0 No.18

In this article, I present the current regime of American workers' compensation law with respect to the requirement of work - connected injury, and suggest the direction of construction which could extent the coverage of workers' compensation in modem work connected injury cases of Korea. In any country, there have been difficulties in fixing and defining the boundaries of coverage. In the U.S., coverage problems have been solved by the approach toward the risk inquiry developing various doctrines aimed at defining the scope of the risk, e.g., the "positional risk" doctrine. The positional risk doctrine is the most liberal of the scope of the risk theories, because the only inquiry under a positional risk theory is whether an injury arises out of the employment placed if it would not have occurred but for the fact that the conditions and obligations of the employment placed employee in the position where he or she was injured: One's employment was responsible for one's being at the time and place where an injury occurred. Even the most neutral of risks which are the cause of a great deal of conflict and confusion can be included. Also, a liberal construction should be given to the definitions of employer and employees because of the objectives of workers' compensation and the need to make coverage as expansive as possible. The modern tendency is to find employment when the work being done is an integral part of the regular business of the employer, and when the worker, relative to the employer, does not furnish an independent business or professional service. This "relative nature of the work" test, not only is it more modern than the "right to control test," it is believed to be more realistic test in terms of the objectives of the workers' compensation law. The purpose of the workers' compensation law as set forth in its title, is to provide financial and medical benefits to the victims of work connected injuries and promote the welfare of the employees. Moreover, the rapidity of technical development and invironmental change in current society place workers in a greater exposure to a risk. In light of the objectives and policies of workers' Compensation a much broader approach should be taken in the construction of requirements of work connected injury. Therefore, with respect to the requirements of work connected injury I propose a direction of construction which consists of adopting "positional risk" doctrine and "relative nature of the work" test in order to extent the coverage.

<영화는 영화다>, 혹은 영화 존재론의 변천에 관한 보고

김소연 영상예술학회 2010 영상예술연구 Vol.16 No.-

It is hard to presume Rough Cut as a film with many sophisticated philosophical thoughts as long as you only have a brief look at its simple title and its poster showing off the typical fighting scene of action genre movie. However, once you have a chance to see the whole film, you might be amazed by its serious subject-matter underneath. I read Rough Cut as having an impressive approach to articulating the long history of the ontology of cinema, being unpacked with the two perspectives of the main actors, one of which is Lee Gangpae, who has once dreamed of becoming a film actor, but ended up as a no. 2 gang, and the other Jang Suta who is now a famous action star, but has been involved in some violence cases from time to time. The film could be divided into three parts. The first one, speaking for Ganpae’s point of view at the outset, follows Plato’s perspective faithfully. In short, as far as imitation is inferior to the real (or reality), acting performance, which is supposed to be a fake and mimicry, is invaluable. However, Suta’s view is different in the second part where Suta opposes to Gangpae while filming as actors together. As the classical film theories shared the perspective of which film is not just a collection of representations but of creation, focusing on the role of director as a creator, Suta disregards Ganpae as not recognizing the difference of film (fiction) and reality. According to Suta, you should know how to film and perform adjusted to the filmmaking system. In the meantime, Ganpae and Suta seem to be influenced by each other and these blending moments construct the third part. The accepting gestures were possible since the notion of reality as the referent or the epistemological base for fiction had been subverted. And this subversion, meaning that fiction does not imitate reality but produce it, was the common perspective in Derrida, Deleuze, and Baudrillard, so-called the postmodernist philosophers. Yet, the finest in this film is not that it ends when the conflict between two main characters turns out to be the opportunity to understand and make a compromise with each other, but that it suddenly goes further to the new phase claiming that film is definitely fictive but also real thanks to the very fictiveness, which sounds truly Lacanian. In that manner, Rough Cut turns the gangster Ganpae to a generically preferred anti-hero who cannot be saved in the social reality for good, or in the Lacanian terms, “the gaze of the real” which is (im)possible to be identified. And besides, with its last scene where all the narrative hitherto developed is framed in another screen and the spatial or psychological distance between the narrative reality and the spectators’ reality is removed, the film advises the spectators to see the film as ‘the gaze itself’, the representation of trauma. In that sense, Rough Cut seems to be a rarely philosophical film questioning the ontology of cinema in disguise of a commonplace action genre film. <영화는 영화다>라는 단순한 제목과 액션 장르 영화다운 홍보물을 보면서 이 영화를 어떤 복잡한 철학적 사유의 결과물이라고 추론하기는 쉽지 않다. 그러나 이 영화를 보고 나면 그 안에 담겨 있는 꽤 진지한 문제의식에 감탄하게 된다. 이 영화는 한때 영화배우를 꿈꾸었던 조폭 중간 보스 이강패와 잦은 폭력 시비로 물의를 빚고 있는 깡패 같은 영화배우 장수타를 내세워 영화의 존재론에 관한 기나긴 역사를 짚어나가는 영화로 읽히기 때문이다. 영화는 그 문제틀의 유형에 따라 크게 세 단락으로 나뉜다. 이강패의 초기 입장을 대변하는 첫 단락은 온전히 플라톤적인 관점을 따르고 있다. 한 마디로 모방은 실재보다 열등한 것이며 따라서 연기는 가짜고 흉내이므로 무가치하다는 것이다. 하지만 두 번째 단락을 구성하면서 이강패에게 대응하는 장수타의 입장은 그와 다르다. 고전기 영화이론들이 영화는 단순한 재현이 아니라 창조의 산물이라는 입장을 공유하면서 창작자로서의 감독의 역할을 중시했듯이, 장수타도 영화와 진짜(현실를 구분할 줄 모르는 이강패를 비웃는다. 요컨대 영화를 만들기 위해서는 영화를 찍는 방식을 알고 그것에 맞춰 연기를 해야 한다는 것이다. 그러나 영화의 세번째 단락에 와서 두 주인공은 앞에서의 입장을 벗어나 상대가 주장하던 것을 수용하는 제스처를 보인다. 그것이 가능한 이유는 허구의 지시대상 혹은 인식론적 기반으로서의 객관적 현실이라는 통념이 이 단락에 와서 전복되었기 때문이다. 그리고 허구가 현실의 모방이 아니라 오히려 현실이 허구에 의해 생산된다는 것은 데리다, 들뢰즈, 보드리야르 등의 포스트모더니스트들이 공유하는 관점이다. 그러나 이 영화의 백미는 두 주인공 간의 갈등이 서로의 입장을 긍정하는 가운데 화해 국면으로 전환되는 데서 끝내지 않고, 영화는 허구이지만 그렇기 때문에 실재가 될 수 있다는 라캉적 사유를 전개한다는 데 있다. 그렇게 이 영화는 깡패 이강패를 끝내 사회(현실) 속에서 안전하게 구원하지 않고 저 동일시가 (불)가능한 실재의 응시로 바꿔놓음으로써 반영웅에 대한 장르적 애호를 확정한다. 뿐만 아니라 이 모든 이야기를 스크린 속의 스크린에 가두는 라스트 씬을 통해 영화의 내러티브 현실과 관객의 현실 간의 간극을 없애버린 채, 관객에게도 저 트라우마적 충격의 표상인 ‘응시 자체’를 보라고 권유한다. 그런 의미에서 <영화는 영화다>는 장르 영화의 외피를 가졌을 뿐, 영화란 무엇인가라는 존재론적 질문을 진지하게 파고드는 보기 드물게 철학적인 영화라 할 수 있다.

韓國 古代의 舞踊攷 : 高麗時代 以前을 中心으로

裵小心 同德女子大學校 1977 同大論叢 Vol.7 No.1

This is a historical study on the forms and developing stages of ancient Korean dances. Dances in the primitive age were entirely gestures coming out of the human instict. Although we can find a record people of Hah (China in the age of the tribal society, 2206····1818 B.C. 夏) danced a Korean dance, it may be rather unbelievable if we consider the conditions of that age. But since the era of Yawngjei (572····545 B.C.) of Joo (ancient China, 周), it is certain that some Korean dances had been introduced into China. Dances of that age were the hunting dance, totemic dance, battle dance or war dance, etc. Their forms were of the choral dance. Dances of the tribal society were connected with the ritual of praying to heaven and gods for the peace and good harvest of the village. In the period of the Three States in ancient Korea (c. 57 B.C.····935 A.D.), Gogooryaw was the most advanced in dance. The forms of Gogooryaw dances can be seen in the murals of Mooyong-chong ("Dance Tomb", in southern Manchuria) and Anak-chong (a tomb in northern Korea). All kinds of Gogooryaw dances have not been handed down to us, but only Jisaw-moo(芝栖舞), Hosawn-moo(胡旋舞), Gwahngjuk-moo(廣袖舞), etc. are known. Scarcely is any record of the dance of Baikjei found in the literature either Korean or Chinese. The great influence of the Baikjei culture on the Japanese may make it possible to conjecture some features of the Baikjei dance from the Japanese one. No name of the Baikjei dance is known. Unifying the Three States, Silla made synthesis of dances of the Korean Peninsula. Moo-ai-moo(無(애)舞), Cher-yong-moo(處容舞), Curm-moo(劍舞), etc. are the names of the Silla dances which are handed down and well known to us. Kee-ak(伎樂), which Baikjei had imparted to Japan, and Hyang-ak of Silla were diffused among the common people and became the source of the present Korean Mask Folk Dance.

L'Aspriration vers l'infini dans les Memoires d'outre-tombe

김소연 德成女子大學校 1988 德成女大論文集 Vol.17 No.-

Chateaubriand savait prendre une reconfortante hauteur au-dessus des terrestres miseres. Il a dit que l'individualite hamaine avait servi a mesurer la petitesse des plus grands evenements. Il avait l'obsession du Temps et de la Mort. Ce queteur incessant d'absolu, d'immensite, d'infini a incarne la passion de l'independance, le souci de la dignite individuelle avec son style superbe. Il ne cesse de recourir pour figurer un Espace et un Temps sans limites. Les mots caracteristiques des Chateaubriand sont mer, abime, desert, immensite, desirs, chimeres, songes, souvenirs. Tous sont lies a l'image de l'espace. Sa voluminosite des etats de l'ame trovent dans les images spatiales leur decor. Son ame est situe au centre d'une immensite. Et Chateaubriand construit sa phrase comme une serie de groupes ou de membres d'etendue croissante, quand il veut figurer un espace qui s'elargit, une duree, un mouvement qui se prolongent indefiniment.