國際化時代의 法的問題와 그에 대한 對應

李相冕 동아대학교 법학연구소 1986 東亞法學 Vol.- No.3

韓日 大陸棚 共同開發 對한 中共의 干涉

李相冕 서울대학교 사회과학연구소 1983 社會科學과政策硏究 Vol.5 No.2

발라즈와 크라카우어의 20년대 영화문화 비평

이상면 한국독일언어문학회 2003 독일언어문학 Vol.0 No.19

In den zwanziger Jahren der Weimarer Repbulik (1919-32), da der Film die Goldene Zeit erreichte und Film als "Kultur der Massen" verbreitet worden war, kam der Filmjournalismus auch zur Blu¨tezeit. In dieser Zeit wurden die kulturellen Bedeutung und soziale Funktion des neuen Mediums von den Filmkritikern entdeckt. Unter ihnen galten Be'la Bala'zs (1884-1949) aus Ungarn und Siegfried Kracauer (1889-1966) als "serio¨se und unabha¨ngige Kritiker" und haben durch ihre hellsichtigen Rezensionen und Schriften zur Entwicklung der Filma¨sthetik im wesentlichen Teil beigetragen. Be'la Bala'zs, der Kritiker des Wiener 'Tags', hob die kulturelle bedeutung des Films in seinen Bu¨chern, 《Der sichtbare Mensch oder die Kultur des Films》 (1942) und 《Der Geist des Films》 (1930) hervor, indem er mit dem Film den Beginn der "visuellen Kultur" betonte. Durch den Film entdeckte er den Wechsel von der Schriftkultur zur Kultur des "Sehens", wobei nicht nur das Gesicht und der Ko¨rper der Menschen erstmals "sichtbar", sondern auch das Gefu¨hl neben der Vernunft anerkannt wurden. Auβerdem fand er die Internationalita¨t im Film, wo univerale Kommunikation durch die Ko¨rpersprache verwirklicht wird und den Welthumanismus, der u¨ber den Kulturimperialismus hinaus gehen kann. Siegfried Kracauer, der in den zwanziger Jahren fu¨r die 'Frankturter Zeitung' schrieb, betrachtete im Grunde den Film als das konservative Medium, weil er von der kapitalistischen Wirtschaftsstruktur abha¨ngig ist, weil er von den groβen Unternehmer der Filmindustrie produziert wird. In 'Durchschnittsfilmen' erkannte Kracauer "Tagtra¨ume der Masse", die "ungefa¨hrliche" kurze Illusion der Kleinbu¨rgertums und sah hierin den "Fluchtversuch", der zum Eskapismus tendiert. Seine Filmschriften aus dieser Zeit, wie sie sich in 《Kino, 1974》, 《Das Ornament der Masse, 1963》und 《Der verbotene Blick, 1992》zeigen, sind als Gesellschaftskritik an damaligen Kulturpha¨nomena zu lesen. Bala'zs' Schriften in den 20er Jahren sind zwar hauptsa¨chlich auf den Stummfilm gerichtet und wurden wegen des fragmentarischen Charakters kritisiert, aber verlieren ihern Wert nicht in dem Sinne, dass sie die Filma¨sthetik der Nachfolger nachhaltig beeinflusste. Spa¨ter, im amerikanischen Exil erbrachte Kracauer fruchtbare Leistungen in seinen soziopsychologischen Kritiken an den deutschen Filmen in der Weimarer Republik, 《From Caligari zu Hitler》(1947). Zudem in den sechziger Jahren wurden Kracauers ideologiekritische Filmschriften als Vorbild fu¨r die Zeitschrift "Filmkritik" angesehen.

갈바니식 산소센서의 납 산화전극 재료

이경재,박면용,조동희,정성숙,박선영 建國大學校基礎科學硏究所 1993 理學論集 Vol.18 No.-

갈바니식 산소센서용 산화음극재료의 연구에 순수한 납, 납-안티몬, 납-안티몬-주석, 납-칼슘의 합금을 사용하였다. 그중에서 납-안티몬 합금이 4M 수산화나트륨 용액중에서 가장 큰 포화전위를 5분안에 나타냈다. 4M 수산화나트륨 용액에 소량의 피로갈롤을 첨가하면 2분안에 포화전위에 도달하는 빠른 응답을 나타냈다. The pure lead, lead-antimony, lead-calcium and lead-antimony-tin aollys have been studied to use as an anodic materials of galvanic oxygen sensors. Among tested materials lead-antimony alloy was shown the highest saturated potential in 4M potassium hydroxide solution and in five minutes. Pyrogallol solution in 4M potassium hydroxide was shown rapid response to be reached the saturated potential in two minutes.

Assessment on the Chlorophyll Fluorescence of young soybean plants during heat stress

Sang-Eun Lee,Seung-Gil Yun,Jung-Ah Jung,Hyun-Hee Kim,Myon-yong Shim,Sei Joon Park,Tae-Wan Kim 한국토양비료학회 2005 한국토양비료학회 학술발표회 초록집 Vol.2005 No.9

Radiotherapy of Recurrent Uterine Cervical Cancer

Sung Whan Ha(하성환),Charn Il Park(박찬일),Kyu Young Chai(채규영),Soon Beom Kang(강순범),Hyo Pyo Lee(이효표),Myon Woo Shin(신면우) 대한방사선종양학회 1987 Radiation Oncology Journal Vol.5 No.2

수술후 골반강내에 국소재발된 자궁경부암의 진단하에 1979년부터 1984년까지 6년 간 서울대학교병원 치료방사선과에서 방사선치료를 시행한 47명의 환자에 대하여 후향적 분석을 시행하여 다음과 같은 결과를 얻었다. 1. 방사선치료 후 완전관해를 보인 환자는 35명으로 완전관해율은 →74.5%이었다. 2. 완전관해를 보인 35명중 7명에서 국소재발 또는 원격전이를 보여 전체적으로 19명 →(40.4%)의 환자에서 치료실패를 나타내었다. 3. 4년 무병생존을 및 전체생존율은 각각 50.1 및 →55.2%이었다. 4. 병소의 범위를 자궁경부암에 적응되는 FIGO병기 결정기준에 의하여 분류한 결과 각 병기에 따른 4년 생존율은 IIa기에서 →80.4%, IIb기에서 →73.0%, IIIb기에서 →25.0%, IVa기에서 →0%이었다. 따라서 수술 후 골강내에 국소재발된 자궁경부암의 경우 적절한 방사선치료를 시행함으로써 좋은 결과를 얻을 수 있음을 알 수 있었다. Forty seven patients with locally recurrent uterine cerival cancer after surgery were treated with radiation during the 6 year period from 1979 through 1984 at the Department of Therapeutic Radiology of Seoul National University Hospital. In 30 out of the 47 patients, recurrence was diagnosed within 2 years after surgery. Site of recurrence was vagina in 19 patients, vagina and parametrium in 21 patients and parametrium only in 7 patients. Complete tumor control was achieved in 35 patients →(74.5%); the complete response rates were →94.7%(18/19) in vaginal recurrences, →57.1%(12/21) in combined vaginal and parametrial recurrences and →71.4%(5/7) in parametrial recurrences. Overall and disease free survival rates at 4 years were 55.2 and 50.1 percent, respectively, for entire group. Overall 4 year survival rates were →77.0% for vaginal recurrences, →44.1% for vaginal and parametrial recurrences and →42.9% for parametrial recrrences. When the disease extent was classified in the same way as the staging system of FIGO, the 4 year survival was 80.4, 73.0, 25.0 and 0 percent for stage IIa, IIb, IIIb and IVa, respectively.

Synthesis and Characterization of SnO₂ Nanowires on C-plane Sapphire Substrates in a Chemical Vapor Deposition Process

Sang Hyeob Kim,Deuk Hee Lee,Jin Moo Lee,Hyun Kyu Park,Ji Myon Lee,Sang Woo Kim 한국표면공학회 2008 한국표면공학회 학술발표회 초록집 Vol.2008 No.-

다양한 해상도의 초음파 영상처리를 위한 매니코어 프로세서의 디자인 공간 탐색

강성모 ( Sung Mo Kang ),김종면 ( Jong Myon Kim ) 한국정보처리학회 2012 정보처리학회논문지 A Vol.19 No.3

초기의 영화 논쟁 : 문자매체와 영상매체에 대한 논의 1910-30 Controversy on Literature / Theatre and Film 1910-30

이상면 韓國比較文學會 2001 比較文學 Vol.27 No.-

During the 1910s and 1920s the critical confrontation between the traditional arts literature/theatre and the new emerging medium of film took place among intellectuals in european countries. At this period cinema became an object of discussion to the extent that it challenged traditional notions of poetry and culture. The increasing tension between the old and the new medium found expression in a vigorous discourse about the literature/theatre and cinema from the institutional, socio-economical and aesthetic aspects. This debate about cinema (Kino-Debatte) had been more radically developed in Germany where the high culture of the educated bourgeois (Bildungsbu¨rger) remained still 1920s continously as a dominant cultural mode. The conservative literary intellectuals and theatre journalists/diretors looked down upon the film as 'vulgar, rough and contentless' medium from the viewpoint of classical aesthetics, and they did not recognize the film as art, due to a lack of the spiritual depth based on the 'expression of language'. But the progressive literary intellectuals and theatre artists who noticed the age for 'Visual image' coming and peoples' skeptical attitude to the language pointed out in the film various possibilities for visual description and emotional communication, and moreover they emphasized the democratic character of the film as medium for all. As a result, the cinema-debate offered a broad spectrum of subtly differenciated perspectives on the cinema and a forum in which filmic aesthetic could be discussed im comparison with the aesthetic of the traditional arts. The film as 'metropolis culture' had a socio-cultural meaning in satisfying the desire of the mass for entertainment and escapism from the civilized big cities, and in the german society the film functioned as a counter culture and at the same time a refuge of the uneducated lower class against the elite culture of the intellectuals (Bildungsbu¨rger). From the mid twenties a new artistic theory, the film aesthetic began to influence on modern literary works and theatre performances. Filmic techniques like montage, leap and recollection, fragmentary composition, and methods for mixing of reality and irreality as well as stimulating visual fantasy, so to say the 'cinema style', were applied in Kafka's works, Alfred Do¨blin's novel 'Berlin Alexanderplatz', expressionist poetries, and film's documentary tendency permeated literary forms like 'reportage', 'functional poetry', and 'documentary drama'. In the productions of Erwin Piscator's political theatre of the 1920s in which emotional involvement of audience in the dramatic processes was hightened through film projections and hereby the solemn distance between the artistic work and the receiver was disappeared. The elimination of this distance as well as the variable point of view belongs to a characteristic of the film aesthetic, as Be´la Bala´zs mentioned in《Der Geist des Films》(1930): "The gaze of film is the close gaze of participant".

제주도 돌잔치에서 집단 발생한 살모넬라증에 대한 역학조사

신상엽(Sang-Yeop Shin),홍정연(Jung Yun Hong),배종면(Jong-Myon Bae) 한국역학회 2004 Epidemiology and Health Vol.26 No.1

Objectives: A field investigation was done to identify the level of epidermic and to evaluate the infection route of Salmonellosis occurred In a baby's first birthday banquet in Jeju Island Methods: Among participants In the banquet given on a baby's first birthday, persons showing gastrointestinal symptoms were conducted by the structured questionnaire and stool culture, The symptomless persons were also surveyed by self-responded structured questionnaire The causal relationship between food Items and gastrointestinal symptoms was proved by odds ratio and Wilcoxon rank-sum test Results: Salmonella london was identified in the stools of 12 subjects among 20 participants showing gastrointestinal symptoms, as well as in the boiled pork hock. Conclusions: This outbreak event is thought to happen after participants took the boiled pork hock that contaminated with Salmonella london during the storage process.