잎담배중의 중요 휘발성 정유성분의 분석

김신일,오영일,허일,Kim, Sin-Il,Oh, Young-Il,Heu, Il 한국연초학회 1983 한국연초학회지 Vol.5 No.2

Tobacco leaves cultivated in Korea, U.S A., Greece and Turkey were analyzed for their essential oils that are solanone, nor- solanadione, damascenone, dana scone and mesa stigmatrienone (4- isomer). Regardless of tobacco varieties and cultivated localities, solanone was the most abundant. Among them particularly, Basma has the highest amounts of the solanone than other varieties. Flue-cured tobacco leaf has much higher amounts of damascellone than burley and aromatic tobacco leaf do. U.S. A. flue-cured, U.S. A. burley and Basma clave much higher concentration of solanone than corresponding Korean varieties, but significant differences could not be observed in other components. The order of total amounts of 8 essential oils in tobacco varieties were as follows; Aromatic) Burley) Flue-cured

연구기능의 활성화를 위한 과제

김신일,Kim, Sin-Il 한국대학교육협의회 1985 大學敎育 Vol.16 No.-

평생학습 시대의 대학 기능

김신일,Kim, Sin-Il 한국대학교육협의회 1990 大學敎育 Vol.48 No.-

잎담배중 아미노산의 자동분석법

김신일,황건중,Kim, Sin-Il,Hwang, Keon-Joong 한국연초학회 1982 한국연초학회지 Vol.4 No.2

An automatic method for the determination of total amino acid in tobacco was studied. This method makes use of the reaction of 2, 4, 6-Trinitrobenzene sulfonate with amino acid. Results obtained with this simple and rapid method agreed with those obtained with the offical method.

허리케인 카트리나와 고유가 시대가 맞물린 미국의 곡물 수급 및 가격 전망

김신일,Kim, Sin-Il 한국사료협회 2005 飼料 Vol.4 No.5

고든크레이그의 무대예술론과 이사도라던컨의 연관성연구 - 던컨의 무대예술을 중심으로 -

김신일 ( Kim Sin Il ) 한국무용예술학회 2012 무용예술학연구 Vol.39 No.-

Based on the idea that the reality is superficial, symbolistic art aimed to express absolute metaphysical or mystical contents in suggestive ways. Craig, who aimed to achieve this, learned and applied technical principles which presents many lines in one stage in the stage art. Also, by raising a question about the actors’ excessive emotional attitudes, he suggested the super-marionette concept, claiming that this could achieve perfection in stage art. To dominate the technical aspects of stages’ components and composition principles, he suggested that pictorial expressions and the super-marionette concept are required in symbolism of stage art. Through this study, it could be learned that Craig’s stage art theory goes together with Isadora Duncan, the pioneer of modern dance. Their stage art theories are interrelated as follows. First, they presented simplified objects by using formative qualities of flat surfaces. This enables the entire stage to look as if it is a big, long piece of a flat surface. They aimed to make anti-realistic art forms geometrical figures, to present as if their objects are moving. Moreover, the contrasts of shades created by forms of rectangular stone statues or stairs were used in clearly dividing the stage. Second, to enhance the dynamism of the stage art, they strictly adhered to using partial illumination. The two cylindrical beams in their works presented the actors’ three-dimensional qualities, and these cylindrical beams from the illumination system enhanced the visual effects from the images. Duncan and Craig had always dreamed of presenting this type of stages, expressing their strained and metaphorical inner world. To freely express the images in stage art, Isadora Duncan and Craig abandoned minor detailed descriptions and chose simplified the stage art decoration. Through suggestion using light, they displayed the theme of each piece, expressed basic characters of each object, and presented the autonomous properties of the art on the stage. They claimed that art should recover its essence, which can be achieved by gaining its basic inspiration through symbolistic stage art. Their artistic combination guides people to the metaphysical world and combines them in one order.

무용예술의 형성기반에 관한 연구

김신일(Kim Sin Il) 한국여성체육학회 1990 한국여성체육학회지 Vol.4 No.-

The substance of dance is not only a simle motive on the side of psychology and sensous, and cannot presorive as substance of value or regard as total form of professional and technic in tensive type of exercise behavior. So, dance is to be developed as a composite art which includes des on its whole concept psychological background as a motive of creation and aesthetical background as the basis of modeling and structural background as an ultimate expressional opportunity, which is abstractness of expression and is human-body art, a serious ous of field art that exist physically only in the moment of taking and is a time-spartial connector. Considering from these, the dance is one of expressional behavior, that is a physical real image, that inner impression which is an expression of some kind of stimulus of impulse from the outward transferred denotationally formally through the action. And as considering, dance is the being of organic combination of the feeling and the action. Some stimuli are causes of action and some kinds of objective would follow. Therefore, human being as thelord of creation should have a controlling system, so that a simple emotion expression as a life activity may be an objective active form, and so we can approach to the artical expression. In consequence, the object line the action, the sound, the color, the material articaly is expressed as a dance or another various expression. As described above, when we look around about the series of typical transition before the creation of art on the expressional opportunity and rhythmical opportunity: First, first intention objective and creation intended distinct desire should be premised. Secondly, owing to continous tension and observation and spirit, being complemented significant immancy in phenomenon, in connection with former desire, because of recognizing some appropriate objectivity, opportunity as a motive can be cleared. Thirdly, through how the logical basis of motive can be sublimate to an active factor of subject establishment. Fourth, because the objective substance for subject embossment should be groped in another phenomenon, it should be examined the form of assurance of typicalness, if possible. Fifth, with the foundation of creation basis as described above, through total pregnancy of figure or piercing work as a form, character, scale, world of work shall be mould in the future. Sixth, it should be examined the expression and appreciativeness of beauty, technicalism with establishment in company with endowment of spatiotempo-allism of fiction, under plot, situation for plot(conception).

미국의 현대무용이 한국 현대무용에 미친 영향 -1950년대 미국의 현대무용이 미친 영향을 중심으로-

김신일 ( Kim Sin Il ) 한국무용예술학회 1999 무용예술학연구 Vol.4 No.-

터빈블레이드의 냉각에서 충돌제트에 의해 변화되는 유동 및 열전달 특성에 관한 수치해석적 연구

이정희,김신일,유홍선,최영기,Lee, Jeong-Hui,Kim, Sin-Il,Yu, Hong-Seon,Choe, Yeong-Gi 대한기계학회 1996 大韓機械學會論文集B Vol.20 No.12

A numerical simulation has been carried out for the jet impinging on a flat plate and a semi-circular concave surface. In this computation finite volume method was employed to solve the full Navier-Stokes equation based on a non-orthogonal coordinate with non staggered variable arrangement. The standard k-.epsilon. turbulent model and low Reynolds number k-.epsilon. model(Launder-Sharmar model) with Yap's correction were adapted. The accuracy of the numerical calculations were compared with various experimental data reported in the literature and showed good predictions of centerline velocity decay, wall pressure distribution and skin friction. For the jet impingement on a semi-circular concave surface, potential core length was calculated for two different nozzle(round edged nozzle and rectangular edged nozzle) to consider effects of the nozzle shape. The result showed that round edged nozzle had longer potential core length than rectangular edged nozzle for the same condition. Heat transfer rate along the concave surface with constant heat flux was calculated for various nozzle exit to surface distance(H/B) in the condition of same jet velocity. The maximum local Nusselt number at the stagnation point occurred at H/B = 8 where the centerline turbulent intensity had maximum value. The predicted Nusselt number showed good agreement with the experimental data at the stagnation point. However heat transfer predictions along the downstream were underestimated. This results suggest that the improved turbulence modeling is required.

발색시약 Blue Tetrazolium Chloride를 이용한 잎담배중 환원당의 비색법적 정량.

이문수,김신일,Lee, Mun-Su,Kim, Sin-Il 한국연초학회 1980 한국연초학회지 Vol.2 No.2

Blue tetraEolium chloride를 발색시약으로 사용하여 잎담배중의 환원당을 흡수분광 광도번에 의해 정량하는 방법을 연구 하였다. Blue tetrolium과 환원당과의 환원반응에서 생성된 formazan dye의 극대흡수파장은 $530^{nm}$ 였으며 fructose농도가 0.02mg/ml-0.14mg/ml범위내에서는 Beer-Lambert법칙에 잘 일치함을 보여 주었다. 이 방법에 의한 환원당 정량의 정확성을 알아보기 위하여 표준 fructose를 잎담배중에 첨가한 후 이 표준 환원당의 농도를 계산하여 보니, 당시의 농도보다 적은 값을 얻었다. 그러나 상대오차 -2%이하로서 비교적 분석적 재현성이 좋게 나타났다. 흡수분광광도계를 사용하지 아니하고 Visual read out방법으로 왑원당을 정량하였을 경우,그 상대오차가 $\pm$10%범위로 나타났다. The spectrophotometric determination oi reducing sugar in the tobacco leaves was carried out by employing blue tetrazolium chloride as a color developing reagent. The absorption maximum of formazan dye which is the product of the reaction between blue tetrazolium chloride and fructose was shown to be $530^{nm}$. In the fructose concentration range of 0.02mg/ml-0.14mg/ml the calibration curve was well coincided to the law of Beer-Lambert. In order to take a look at the accuracy and/or recovery rate of fructose determination, the standard fructose was added to the tobacco leaves and the concentration of this standard fructose was estimated. A tittle lower concentration of the standard fructose compared with the pure one in solution was observed. However, an excellent analytical recovery was revealed under the -2% of relative error limit. When we carried out the quantitative determination of this reducing sugar by the method of visual read-out (without using the spectrophotometer), the relative error was obtained to be $\pm$10%.