목제 조각품의 수피부 보존처리

김영목,한예빈,신정아,차순민,권희홍,Kim, Young Mok,Han, Ye Bin,Shin, Jeong Ah,Cha, Sun Min,Kwon, Hee Hong 한국문화재보존과학회 2021 보존과학회지 Vol.37 No.5

The 'artist's intention' plays an important role in the conservation process of contemporary art. Accordingly, the information on artworks owned by the artist, their bereaved family members, and foundations that have decision-making power is important. The artist's interview is the kind of data that can clear 'artist's intentions' to ensure reliable conservation treatment can be carried out even after the artist's death. Therefore, this study attempted to use information from the artist's interview on the type of wood in the manufacture of the filler required for lifted and separated bark conditions in the conservation process of wooden artwork in the National Museum of Modern and Contemporary Art. While the conservation treatment resulted in the stable preservation of the bark of artwork, an analysis of the wood confirmed that the information in the artist's interview was not true. Consequently, we suggest that attention must be paid toward the information provided by artist, their bereaved families, etc. Based on the result of this study, this is also expected to help preserve upcoming artworks with similar bark conditions. 현대미술의 보존처리에 있어서 '작가의 의도'는 방향성을 결정하는 중요한 역할을 하게 된다. 이에 따라 작가, 유족, 재단 등 일종의 의사 결정권을 가지는 이들이 소유한 작품에 관한 정보는 매우 중요하다. 그중 작가 인터뷰는 명확한 '작가의 의도'를 제공할 수 있는 자료로써 작가 사후에도 신뢰도 높은 보존처리가 이루어질 수 있도록 한다. 이에 본 연구에서는 국립현대미술관 소장 목제 작품에 대한 보존처리를 진행함에 있어서, 들뜨고 분리된 수피 상태에 적용할 충전제의 제조에 작가 인터뷰 내용 속 수종에 관한 정보를 활용하고자 하였다. 보존처리 결과 작품의 수피는 안정적인 보존처리가 이루어졌지만, 수종분석을 통해 작가 인터뷰의 정보가 실제와 다름을 확인하였다. 결론적으로 작가 및 유족 등으로부터 제공받은 정보를 활용함에 있어 유의할 필요가 있다는 점을 시사하고자 한다. 또한 이번 연구 결과를 바탕으로 향후 비슷한 수피 상태를 가진 작품의 보존처리에 도움이 될 것으로 기대한다.

16 V 급 NMOSFET 소자의 낮은 게이트 전압 영역에서 출력저항 개선에 대한 연구

김영목,이한신,성만영,Kim, Young-Mok,Lee, Han-Sin,Sung, Man-Young 한국전기전자재료학회 2008 전기전자재료학회논문지 Vol.21 No.2

In this paper we proposed a new source-drain structure for N-type MOSFET which can suppress the output resistance reduction of a device in saturation region due to soft break down leakage at high drain voltage when the gate is biased around relatively low voltage. When a device is generally used as a switch at high gate bias the current level is very important for the operation. but in electronic circuit like an amplifier we should mainly consider the output resistance for the stable voltage gain and the operation at low gate bias. Hence with T-SUPREM simulator we designed devices that operate at low gate bias and high gate bias respectively without a extra photo mask layer and ion-implantation steps. As a result the soft break down leakage due to impact ionization is reduced remarkably and the output resistance increases about 3 times in the device that operates at the low gate bias. Also it is expected that electronic circuit designers can easily design a circuit using the offered N-type MOSFET device with the better output resistance.

Causes of Construction Delays of Apartment Construction Projects: Comparative Analysis between Vietnam and Korea

김영목,김수용,르드롱반,Kim, Young-Mok,Kim, Soo-Yong,Luu, Truong-Van Korea Institute of Construction Engineering and Ma 2008 건설관리 : 한국건설관리학회 학회지 Vol.9 No.5

Construction delay caused considerable losses to project parties. Avoiding construction delays is important to save costs for project stakeholders. The main objective of this paper is to identify major causes of construction delays of apartment construction projects in Vietnam. Sixteen causes of delay were identified through a questionnaire survey of 166 professionals. Factor analysis was employed to categorize these causes. The results of the survey revealed the main causes of delay of apartment projects in Vietnam are: (1) owner's and contractor'S financial difficulties; (2) lack of experienced contractors; (3) late delivery of materials; (4) late construction site handover; (5) owner's late payments for completed works; (6) low bid prices; (7) inappropriate construction method; and (8) defective works and unnecessary reworks. Factor analysis uncovered that causes of delay can be grouped under five categories labeled the five INs: incompetence, ineffectiveness, inadequateness, inapplicableness and inconceivableness. Comparative analysis between the Vietnam construction industry (VCI) and the Korea construction industry (KCI) has been performed to infer valuable lessons for researchers and practitioners in the VCI and the KCI. Comparative analysis indicated that main causes of delay in the VCI somewhat differ from main causes of delay in the KCI. However, "contractor'S financial difficulties", "late construction site handover", "unnecessary rework", "incapable designers", "site clearance difficulties" are common causes of delay in the VCI as well as the KCI. The findings of this research can be used as a guideline to overcome problems in the VCI as well as in other construction industries. Since Korea has emerged as the first largest foreign investor in Vietnam, the results of this study may be useful not only to practitioners and researchers in Vietnam but also to participants in Korea.

목제 조각품의 수피부에 대한 충전제 적용 연구

김영목,권희홍,김수철,Kim, Young Mok,Kwon, Hee Hong,Kim, Soo Chul 한국문화재보존과학회 2021 보존과학회지 Vol.37 No.2

목재 문화재의 결손부 보존처리는 동일 수종의 목분, 목재를 성형 후, 천연 접착제 또는 합성수지와 혼합하여 결실 부위를 충전하는 방식으로 접착한다. 그러나 대상의 종류와 상태에 따라 사용하는 접착제 및 첨가제의 농도, 혼합비율이 다양하게 나타난다. 이에 본 연구에서는 수피가 들뜨고 분리된 상태의 국립현대미술관 소장품을 대상으로 보존처리에 적합한 충전제 조건을 알아보기 위한 평가를 진행하였다. 건조속도, 수축·팽창률, 물리적 변형 정도를 기준으로 접착제별 최적 충전 조건을 선정하고, 실제 적용성을 확인하기 위해 해당 충전제들을 목재에 적용한 후 고습 환경에 노출하여 단면을 관찰하였다. 충전제는 아교, PVAc 접착제, Acryl 접착제 순으로 안정적인 적용 결과를 보였다. 결론적으로 수피가 들뜬 목제 조각품을 보존처리 시, 적합한 충전제는 아교와 목분 1 : 2 비율의 혼합물로 확인되었다. 이번 연구 결과를 통하여 목제 조각품의 들뜨고 분리된 수피를 안정화하는 적절한 방법을 제시하고, 향후 유사한 상태의 수피부 보존처리에 도움이 될 것으로 기대한다. Conservation treatment that involved filling the lifting parts of wooden cultural heritage is carried out by obtaining wood or wood powder of the same species and mixing it with synthetic resin or natural glue to charge the blank area. Various concentrations and mixing ratios of adhesives and additives are used, depending on the type and condition of the target. Accordingly, in this study, we determined the conditions of the filler suitable for conservation treatment of wooden sculptures with lifted or separated bark in the National Museum of Modern and Contemporary Art. The optimal filler conditions for each adhesive were selected based on drying speed, shrinkage and expansion rates, and physical deformation degree. Then, to verify their actual applicability, these fillers were applied to wood and exposed to high-humidity environment and their cross-sections were observed. The fillers showed stable application in the following order: animal glue, PVAc adhesive, acrylic adhesive. In conclusion, a 1:2 mixture of animal glue and wood powder is a suitable filler for conservation treatment of wooden sculpture with lifted bark. The results of this study suggest appropriate ways to stabilize the bark that was lifted or separated from a wooden sculpture, thus enabling the future conservation treatment of the artworks under similar conditions.

Listeria monocytogenes YM-7의 생리적 특성

김영목,박욱연,목종수,장동석,KIM Young-Mog,PARK Uk-Yeon,MOK Jong-Soo,CHANG Dong-Suck 한국수산과학회 1995 한국수산과학회지 Vol.28 No.4

리스테리아 증세로 의심되는 환자의 혈액으로부터 분리한 균은 저온에서의 운동성 시험, 용혈능 검정시험, 당 이용성, CAMP 시험의 결과 전형적인 L. monocytogenes의 특성을 보여 L. monocytogenes YM-7로 동정하고 명명하였다. L. monocytogenes YM-7의 세균학적 특성과 이 균이 생산하는 용혈독소의 이화학적 특성은 다음과 같다. L. monocytogenes YM-7 균주는 Gram양성 간균으로, 운동성 측정 결과 반고체 배지에서 우산 모양의 층이 생겼고, 최적증식조건은 $37^{\circ}C$, 식염 농도 $0^{\circ}C$, pH 8.0이었고, 이 균의 생육 가능범위는 $8-40^{\circ}C$, 식염 농도 $0.7\%$, pH 5.0-10.0였다. L. monocytogenes YM-7 균주가 생산하는 용혈독소는균 생육곡선의 정지기 부근에서 최대 활성을 나타내었다. 이 용혈독소는 비교적 열에 불안정하였으나, $37^{\circ}C$에서 180분 후에도 용혈활성이 남아 있었다. 그리고 용혈독소는 pH 6.0-8.0에서 안정하였으나 그 외의 pH 영역에서는 매우 불안정 하였다 Listeria monocrogenes has been increasingly recognized as an important food poisoning and pathogenic bacterium which is Gram positive, non spore forming and facultative anaerobic rod shape. Bacteriological and physiological characterization of L. monocytogenes YM-7 isolated from a patient was performed. Optimum growth condition of 1. monocytogenes YM-7 was at $37^{\circ}$, pH 8.0 and $0\%$ sodium chloride in tryptic soy broth, and then it grew pretty well in the range of $8-40^{\circ}C,\;pH 5.0-10.0\;and\;up\;to\;7\%$ of sodium chloride in the medium. The highest hemolysin activity of hemolysin produced by L. monocytogenes YM-7 was shown in the stationary phase of its growth. Hemolysin produced by the isolated strain was stable at $4^{\circ}C\;and\;pH\;6.0-8.0, while it was gradually unstable by increasing the storage temperature.

문화적 현상으로서의 증오와 "변형된" 공격

김영목 ( Young Mok Kim ) 한국독일언어문학회(구 독일언어문학연구회) 2008 독일언어문학 Vol.0 No.41

헤벨의 『니벨룽겐』과 독일 민족성

김영목(Kim, Young-Mok) 한국카프카학회 2016 카프카연구 Vol.0 No.36

문학 : 연극의 시간 구조와 기억의 시간

김영목 ( Young Mok Kim ) 한국독일어문학회 2006 독일어문학 Vol.33 No.-

하이너 뮐러의 『그림쓰기』 에 나타난 기억과 메타 기억

김영목 ( Young Mok Kim ) 한국독일언어문학회 2012 독일언어문학 Vol.0 No.58

In meiner Arbeit wird Heiner Mullers Theatertext Bildbeschreibung unter dem Geschichtspunkt des Gedachtnisses und Meta-Gedachtnisses analysiert, indem sie vor allem einen "doppelten" Blick als das Theater-Material in seinem Implikationen zu begrunden versucht. Mullers Text formuliert das asthetische Verhaltnis von Theater und Subjekt, von Buhne und Blick und deren Konvergenzpunkt, dem Gedachtnis. Gleichzeitig kennzeichnet er das Gedachtnis als meta-theatralische Reflexion auf die Szene und deren Rezeptionsweise. Hier entsteht das Gedachtnis im Zwischenbereich von Text, Bild und Rezipient. Hier geht es zunachst um Freuds Meta- Psychologie, aus der sich ein Gedachtnismoment ableiten lasst, das als Meta-Gedachtnis zu bezeichnen ist, da es in sich alle Modelle vom Unbewußten, von der Regression sowie deren Textprinzipien des Vergessens und der Wiederholung vereinigt. Was Freuds Psychoanalyse auszeichnet, ist die Mythologisierung des Gedachtnisses. Freuds eigener Diskurs unterliegt der Spaltung in einen doppelten Blick, der das Andere in der Wiederholung des Gleichen immer wieder mythisch auf das ewige Gedachtnis zuruckwirft. In Mullers Bildbeschreibung fallt das Ich immer wieder auf das leblose Bildmaterial zuruck. Damit erinnert Mullers Text Freuds Diktum, welches besagt, dass das Leblose fruher da war als das Lebende. Hier folgt die Bewegung der Triebe ihrem vergessenen Gedachtnis, das sie eigentlich auf den Ruhezustand zuruckwirft. In Mullers Text wird die Gedachtnisdynamik des Vergessenen aufgenommen, indem er das Ich im Textmaterial auflost. Was Bildbeschreibung sinnlich erfahrbar macht, ist die Aporie eines Ichs, das sich mit Hilfe des Gedachtnisses zu fassen versucht. Alles, was dieses Gedachtnis erinnert, sind Auflosungsbilder, die das Ich nicht zu festigen vermogen. Und im Text setzt das Gedachtnis sich zwischen unbewußten Gewaltbilder selbst in Szene. Das Gedachtnis inszeniert sich im Zwischenraum von Bildmaterial und Betrachter als Mythos. Dieser Zwischenraum ist der Ort des Theaters zwischen Buhne und Zuschaueraum, in dem sich zwei Blicke uberlagern. Was darin erinnert wird, sind Gewaltphantasien. In Mullers Text nimmt eine Objektbeziehung mythische Dimensionen an, indem sie vom konkreten Material des Bildes ausgehend auf die Geschichte als Gewaltgeschichte ubertragen wird. Mißlingt die Objektbeziehung, sieht das Ich sich auf sein Gedachtnis zuruckgeworfen, welches es Sinn produzieren lasst, der das Ich zu zersetzen beginnt. Gedachtnis erinnert an das, was nicht erinnert werden kann, weil sich das Material des Bildes einem eindeutigen Zugriff verweigert. Was erinnert wird, sind immer Umformungen aus dem Fundus des mythischen ewigen Gedachtnisses, das seinen Grund vergessen hat. Gedachtnis meint in Mullers Bildbeschreibung jenen Produktionsprozeß, der sich zwischen Material und Betrachter entfaltet. Dieses asthetische Gedachtnis ist als Meta-Gedachtnis in einem metatheatralischen Text zu verstehen, der zwischen Blick und Blick ein Gedachtnismodell aufblitzen lasst, das sich mit der Spaltung des Ichs beschaftigt. Mullers Text stellt eine metatheatralische Reflexion auf das Theater als (Meta-) Gedachtnis von Verdrangten dar.

독일 비극과 변증법적 구조 -19세기를 중심으로

김영목 ( Young Mok Kim ) 한국독일어문학회 2012 독일어문학 Vol.56 No.-

In meiner Arbeit wird eine Antwort auf die Frage versucht, in weicher Weise die bestimmte Struktur des Tragischen in den deutschen Tragodien in Erscheinung tritt, die insbesondere im 19. Jahrhundert geschrieben wurden. Bier wird die tragische Struktur in den deutschen Tragodien als eine dialektische bestimmt. Diese deutschen Tragodien sind im Urnkreis und auf dem Boden des deutschen Idealismus entstanden, dessen zentrale Denkfigur gerade die Dialektik war. Und in ihnen ist das eigentumliche -deutsche- Ensemble von dem metaphysischen und spekulativen Totalitatsbegriff, der Erhabenheitsasthetik und der Tragodie zu erkennen. In diesen Tragodien handelt es sich vor allem um die dialektische Problemstruktur, in der die ideelle Ehre sich nur dadurch realisieren kann, dass sie ihre physische Realitat zerstort. Mit anderen Worten: Line Wertposition will sich unvermittelt realisieren und vernichtet damit ihre Realitat, Das 1st auth die tragische Situation, die in immer neuen Variationen in den Tragodien von Schiller, Kleist und Hebbel standig wiederkehrt. Und am Ende dieser deutschen Tragodien werden die Werte stets von neuem rehabilitiert Bei Schiller geht die dialektische Grundstruktur vom Widerstreit zwischen zwei unterschiedlichen Legitimationen, der historisehen und der moralischen Legitimation aus. Fur Kleist geht es um die Dialektik des Liebesproblems. In semen Werken muss die absolute Liebe, die das utopische Ideal der Menschen ist, sich selbst zerstoren, wenn sic sich unvermittelt in der Wirklichkeit realisiert. Und bei Hebbel geht es um die Dialektik der Person in Bezug auf die Verdinglichungsproblematik des Menschen. In seinem tragischen Modell wird auf der einen Seite ein Mensch in einer Liebesbeziehung zur blol3en Sache gemacht und wird auf der anderen Seite diese Verdinglichung durch eine freiwillige Preisgabe der eigenen Person um der sittlichen Idee willen gesuhnt.