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- 저자 : 송민호(Minho Song) (검색결과 58 건)
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Effects of different parities on productive performance of lactating sows
송민호,김도명,최규명,서성원,Song, Minho,Kim, Do-Myung,Choi, Kyu-Myung,Seo, Seongwon Institute of Agricultural Science 2012 Korean Journal of Agricultural Science Vol.39 No.3
Fast recovery of feed intake and milk production are very important in the management of lactating sows because they are directly related to sow and litter performance. It is also known that parity is one of factors affecting feed intake and milk yield during lactation. Therefore, the objective of this study was to evaluate effects of different parities on productive performance of lactating sows fed diets containing different levels of DDGS. A total of 245 sows were divided into 3 parity groups of 1 to 2, 3 to 5, and over 5 parities. Within each parity group, sows were allottedto 1 of 4 dietary treatments that were prepared by inclusion of 0, 10, 20, and 30% DDGS in lactation diets. Diets were fed to sows during lactation. Sows with parities 1-2 had lower (p < 0.05) initial sow body weight, sow feed intake, sow weight change, and sow backfat change during lactation than sows with parities 3-5 as well as parities over 5. However, sows with parities over 5 had lower (p < 0.05) litter size at weaning, litter birth weight, litter weaning weight, and piglet average daily gain and higher pre-weaning mortality than sows with parities 1-2 as well as parities 3-5. In conclusion, parity influences productive performance of lactating sows.
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송민호(Minho Song) 한국콘텐츠학회 2015 한국콘텐츠학회논문지 Vol.15 No.1
본 연구는 지금까지의 극장을 중심으로 한 수동적 영화 관람을 벗어나 더 능동적인 참여를 통하여 영화 내러티브에 개입하고자 하는 관객의 욕망이 영화의 내러티브 구축 방식을 어떻게 바꿀 것인가 하는 문제에 대한 철학적 배경을 논의하고자 하는 목적을 갖는다. 빅스크린을 중심으로 한 집단적인 관극 경험이 과거의 영화적 정체성을 규정짓는 것이었다면, 다양한 디지털 미디어 융합이 이루어지고 있는 매체 다변화의 시대에 있어서 점점 극장이 갖는 절대적 가치는 해체되고 있다. 이러한 상황은 책이라는 매체에 대해 롤랑 바르트가 예견했던 저자의 죽음에 비교되는 것으로, 이제 이와 같이 새롭게 등장하는 ‘영화’들에 대해 논의할 시대이다. 이러한 논의에서 가장 중요한 것은 미래의 영화 내러티브의 변모 양상으로, 특히 3막 구조, 카타르시스를 불러일으키는 구성 등이 과거의 내러티브를 규정짓는 것이었다면, 이제 미래의 영화 내러티브는 관객의 참여를 통해 내러티브에 적극적으로 인터랙션하는 구조로 바뀌게 될 것이다. 본고에서는 특히 게임이 아니라 영화만이 줄 수 있는 수동적 경험성이라는 측면의 가치를 중시하면서 가능한 관객 인터랙션 방식을 고민해보고 지금까지의 인터랙티브 시네마의 시도와 향후의 가능성을 확인해보고자 하였다. This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audiences desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with the authors death Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging movies.The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.
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송민호(Song Minho) 이상문학회 2017 이상리뷰 Vol.- No.13
The ‘flow of consciousness’ and ‘Automatism’, which have been mixed to date in an attempt to evaluate the nature of the avant-garde in Lee Sang(李箱, 1910-1937) literature, are actually contradictory concepts. If the ‘flow of consciousness’ is a continuous flow of a series of impressions that emerge in the mind of the subject, the ‘Automatism’ excludes the influence of consciousness and renders the spontaneous movement of the unconscious as artistic expression. The purpose of this paper is to identify the concept of unconsciousness that exists in the point of contact of two other surrealistic movement and to ascertain what kind of artistic orientation Lee Sang has in the meantime. First, as discussed in Chapter 2, the “flow of consciousness” proposed by William James was a psychological term for the continuous flow of consciousness when it was first introduced in Japan. However, in the process of incorporating James Joyce into the movement of ‘New Psychologism’ by Ito Sei(伊藤整, 1905-1969) in Japan, this ‘flow of consciousness’ has been transformed into the concept of positively referring to the movement of ‘unconsciousness’ in Freudian sense. In other words, James Joyce’s psychologism was not merely conveying the inner impression, but manifesting unconscious impressions on the psychology. What Lee Sang literature was referred to as ‘the flow of consciousness’ results from the existence of this ‘New Psychologism’ tendency in Tokyo. There is a background here in which Kim Moonjip(金文輯) pejoratively reduced Lee ‘s literature to the reappearance of the literary circles of Tokyo ‘New Psychologism’ or ‘Dadaism’. He attacked the ambiguous attitude of Choi Jaeseo(崔載瑞) and tried to define his technique of creation somewhere between ‘flow of consciousness’ and ‘automatism’. This is clearly distinguished from Lee siwoo(李時雨)’s attitude who concluded that Lee Sang did not reach the scope of the ‘Automatism’ of the 20th century. In other words, Lee Sang was an artist who was constantly moving between the overlaps of contemporary artistic trends.
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1920년대 초기 김동인-염상섭 논쟁의 의미와 ‘자연’ 개념의 의미적 착종 양상
송민호(Song Minho) 서강대학교 인문과학연구소 2010 서강인문논총 Vol.0 No.28
본고는 1920년대 초 김환의 소설 「自然의自覺」을 두고 김동인과 염상섭이 벌였던 논쟁의 의미를 재해석해보고자 하였다. 지금까지 이 논쟁을 다룬 연구들은 김동인과 염상섭이라는 신문예의 두 주역이 각기 ‘창조파’와 ‘백조파’를 둘러싸고 벌인 자존심 다툼으로 해석하거나 문예적 장의 형성 과정에서 작가와 비평가의 역할이 최초로 규정되는 장면으로 이해한 것이 일반적이었다. 본고는 이러한 기존의 인식과 더불어 이들의 논쟁을 그 원인이 되는 소설 「自然의自覺」과 매개함으로써 좀 더 풍요롭게 의미화하고자 하는 의도로, 이 논쟁 속에 참여한 김동인 염상섭 각자에게 서로 다른 논쟁의 맥락이 존재했을 뿐만 아니라 이 논쟁의 측면에 김환의 「自然의自覺」의 내용을 사이에 두고 벌이는 ‘자연’이라는 개념에 대한 의미적 착종의 문제가 내재되어 있음을 확인해보고자 하였다. 특히 염상섭은 자신의 ‘개성’을 중심으로 한 예술론을 통해 김환이 사용하는 개념의 구체화를 문제 삼았으며 이는 실제로는 ‘자연’이라는 개념의 구체화 여부였다. 또한 그는 ‘자연’이라는 개념의 오용을 문제 삼기도 하는데 이는 ‘nature’의 번역어로서의 ‘자연’이라는 단어가 쓰이게 되면서 이는 동서양적인 의미가 혼용되는 결과로부터 기인하는 것이다. 김동인 역시 마찬가지로 김환의 소설에서 자연의 개념이 불분명하다는 사실을 비판한다. 그는 ‘자연/인공’의 대립항을 통해서 형성된 ‘자연’이라는 개념에 대해 매우 분명한 인식을 보여주고 있는 것이다. 따라서 1920년대 초기의 상황 속에서 이러한 논쟁은 필연적으로 발생할 수밖에 없었던 것으로 규정될 수 있는데 그것은 한편으로는 ‘소설’의 양식이라든가 ‘자연’의 개념과 같은 외부로부터 차용된 대상들의 의미적 차원이 구조화되어 드러내는 계기가 되었기 때문이다. This study focuses on trying to interpret the meaning of the discussion between Kim dong-in and Yeom sang-sub about a novel of Kim whan’s, the awareness of nature. Until now, the meaning of this argument has been understood ordinarily as the opposition of pride between Kim dong-in and Yeom sang-sub, two literary leading roles or as the first scene the part of writer and critic determined in 1920’s by the studies on this argument. With preceding study works, this study tries to confirm the fact that there was the each different contexts and causes of that two person taking part in argument and the problem of the conceptual confusion of ‘jayeon’(自然), the term translated via japan from europe. Especially Yeom sang-sub made an issue of the actualization degree of the concept(nature in particular) on the basis of his own art thought about the personality and the art. Moreover, he also pointed out the misuse of the concept of nature, which this situation resulted from the consequence that the semantic confusion occurred in word, translated ‘jayeon’ form nature of western europe. Kim dong-in also pointed out the uncertainty of the concept of ‘jayeon’. He showed the certain awareness about the concept of ‘jayeon’ through the opposition between ‘jayeon’ and ‘ingong’(人工). This argument, thus, is thought upon kind of the inevitable occurrence in early 1920’s circumstance. Since it became a moment revealed the semantic dimension of objects, the style of novel or the concept of ‘jayeon’, transferred from the outer space
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Effects of different parities on productive performance of lactating sows
Minho Song(송민호),Do-Myung Kim(김도명),Kyu-Myung Choi(최규명),Seongwon Seo(서성원) 충남대학교 농업과학연구소 2012 농업과학연구 Vol.39 No.3
Fast recovery of feed intake and milk production are very important in the management of lactating sows because they are directly related to sow and litter performance. It is also known that parity is one of factors affecting feed intake and milk yield during lactation. Therefore, the objective of this study was to evaluate effects of different parities on productive performance of lactating sows fed diets containing different levels of DDGS. A total of 245 sows were divided into 3 parity groups of 1 to 2, 3 to 5, and over 5 parities. Within each parity group, sows were allottedto 1 of 4 dietary treatments that were prepared by inclusion of 0, 10, 20, and 30% DDGS in lactation diets. Diets were fed to sows during lactation.Sows with parities 1-2 had lower (p < 0.05) initial sow body weight, sow feed intake, sow weight change, and sow backfat change during lactation than sows with parities 3-5 as well as parities over 5. However, sows with parities over 5 had lower (p < 0.05) litter size at weaning, litter birth weight, litter weaning weight, and piglet average daily gain and higher pre-weaning mortality than sows with parities 1-2 as well as parities 3-5. In conclusion, parity influences productive performance of lactating sows.
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