Reciprocal Lattice Explorer의 原理와 使用法

徐日煥,李珍昊,秋錦洪,林星秀,柳保盈,朴晶蘭,金文執,趙素羅,金憲俊,李正秀,成百石 충남대학교 자연과학연구소 1993 忠南科學硏究誌 Vol.20 No.2

Reciprocal lattice explorer는 de Jong-Bouman camera와 Buerger precession camera를 合친것이다. 이 explorer를 使用하면 goniometer에 한번 固定한 試料를 使用하여 그 試料의 空間群을 決定하는데 必要한 모든 寫眞을 撮影할 수 있으며 그들은 찌그러지지 않은 逆格子面의 寫眞들이다. 本 論文에서는 de Jong-Bouman 과 Buerger precession 寫眞術의 原理와 使用法을 記述 하였고 또한 de Jong-Bouman의 振動寫眞과 zeroth layer 寫眞으로부터 11個 Laue群의 識別方法도 提示하였다. The reciprocal lattice explorer is an instrument which incorporates the principles of both the Buerger precession and the de Jong-Bouman methods. On the explorer all photographs which are necessary for a space group determination can be taken with a single setting of a crystal and the photographs show undistorted pictures of the reciprocal lattice planes. In this paper, the principles and the usages of the de Jong-Bouman and the Buerger precession photography are described, and a method of 11 Laue group identification using the de Jong-Bouman oscillation and zeroth layer photographs is shown.

Weissenberg 寫眞 技法에 의한 酸化마그네슘(MgO)의 結晶構造

이진호,류보영,조소라,김문집,추금홍,서일환,임성수 순천향대학교 1993 논문집 Vol.16 No.3

The structure of MgO crystal is faced centered cubic(FCC) with cell parameters of a=b=c=4.21Å, α=β=γ=90。. The ionic bond length between Mg and O atoms is 2.1Å. This crystal belongs to m3m point group and to Fm3m space group.

點郡 3㎖(H) 의 振動寫眞 및 Weissenberg寫眞에서의 特性

이진호,류보영,조소라,김문집,추금홍,서일환,임성수 순천향대학교 1993 논문집 Vol.16 No.3

Crtstallographic cell constants of point group ?? are a =b≠c, α=β=90。, and γ=120。. There are mirror plane symmetries in oscillation photography taken at a-axis and b-axis, but no plane symmetry at c-axis. Since Weissenberg zeroth layer taken at a- and b-axis obeys Friend's law, half of the photography shows non-symmetric unit of diffraction intensity. There are 6 mirror planes in the Weissenberg zeroth layer when the photography was taken at c-axis, therefore 1/12 of the unit cell is non-symmetric unit.

Are pet foods safe? From perspective of mycotoxins, preservatives and antioxidants

Kyu-hwan Hwang(Kyu-hwan Hwang),Hye-ra Kim(Hye-ra Kim),Yoon-hwa Choi(Yoon-hwa Choi),Doo-hwan Kim(Doo-hwan Kim),You-Jin Lee(You-Jin Lee),Dong-Hyuk Jeong(Dong-Hyuk Jeong) 한국예방수의학회 2023 예방수의학회지 Vol.47 No.2

The aim of this study was to determine the contamination of mycotoxins and the concentration of preservatives and antioxidants in commercial pet food. 106 pet foods were purchased from online in Korea. Mycotoxin analysis were performed using liquid chromatography coupled to tandem mass spectrometry (LC-MS/MS) and preservatives and antioxidants were analyzed by high performance liquid chromatography (HPLC). The contamination of the mycotoxins in all samples was proved to comply with the Korea legislation with regards to animal feed, the analyses revealed presence of aflatoxins, ochratoxin A, zearalenone and fumonisins, with values below 1.6 ㎍/㎏, 12.1 ㎍/㎏, 478.5 ㎍/㎏ and 1873.5 ㎍/㎏, respectively. Furthermore, the simultaneous presences of different mycotoxins were observed in most of positive samples. The levels of dehydroacetic acid (DHA), sorbic acid (SA) and benzoic acid (BA) were, respectively, with values below 0.24 g/㎏, 4.82 g/㎏ and 6.35 g/㎏. The concentrations of butylated hydroxy anisole (BHA) and butylated hydroxy toluene (BHT) were demonstrated to be acceptable, with values below 0.04 g/㎏, and 0.02 g/㎏. This indicated the need for further investigation into the potential risk deriving from chronic exposure to low doses of mycotoxins. Additionally, a co-contamination of mycotoxins which interact in synergic manner are more concern. As DHA that not accepted was detected and very high levels of SA were identified in samples, an upper limit for preservatives in pet foods should be established in pet foods. BHA and BHT were detected within the recommended levels for antioxidant content, so these are considered as safe.

Role of the modified Saengmaeksan(mSMS) in L-NAME-induced hypertension model

Jin Ki Jung,Hobin Moon,Won Hee Nam,Yun-Hwan Kang,Se-Jin Kim,Young Mi Seok,Hyun Hee Leem,Ji-Woon Jeong,Yu Jin Park,Min Ju Kim,Chae Suk Ra,Jiyoung Seo,Hye Won Shin,Bo Gyung Jang,Hyo Jung Kim 한국실험동물학회 2022 한국실험동물학회 학술발표대회 논문집 Vol.2022 No.7

Self-reported Non-celiac Gluten Sensitivity in the Korean Population: Demographic and Clinical Characteristics

Ra Ri Cha,Jeong Hwan Kim,Hoon Sup Koo,Kee Wook Jung,Yang Won Min,Chang Hwan Choi,Han Seung Ryu,Yong Hwan Kwon,Dae Hyeon Cho,Joong Goo Kwon,Kyung Sik Park,Hyun Jin Kim 대한소화기 기능성질환∙운동학회 2022 Journal of Neurogastroenterology and Motility (JNM Vol.28 No.2

Background/AimsNon-celiac gluten sensitivity is characterized by intestinal and extra intestinal symptoms associated with the consumption of gluten-containing food. Since biomarkers for non-celiac gluten sensitivity are lacking, its prevalence is estimated based on self-reported symptoms. However, no data exist on self-reported non-celiac gluten sensitivity in the Korean population. Thus, we aim to investigate the prevalence of self-reported non-celiac gluten sensitivity in the Korean population and to determine its demographic and clinical characteristics. MethodsThis study surveyed Korean participants aged 18-80 years who visited gastroenterology outpatient clinics at 9 tertiary hospitals in South Korea from January 2016 to February 2017. They were questioned regarding symptoms related to gluten ingestion: degree of discomfort (visual analog scale score), frequency, time of symptom onset, and duration. Abdominal discomfort caused by 11 different kinds of gluten-containing Korean food items was investigated. ResultsMore non-celiac gluten sensitivity self-reporters were identified among those with irritable bowel syndrome (33.6%) than among controls (5.8%). Major gastrointestinal symptoms included bloating (75.0%), abdominal discomfort (71.3%), and belching (45.0%). Common extra-intestinal symptoms included fatigue (20.0%) and headache (13.7%). More than half of those who self-reported non-celiac gluten sensitivity (66.3%) developed symptoms within 1 hour of food ingestion, and symptoms were localized in the upper abdomen (37.5%) and entire abdomen (30.0%). ConclusionOur findings suggest that if there are gluten-related symptoms in irritable bowel syndrome, the possibility of accompanying non-celiac gluten sensitivity should be considered.

소설 ≪이방인≫의 연극적 시각화 방식

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2020 연극교육연구 Vol.37 No.-

This paper is study on the way of visualization of text based on the empirical knowledge acquired from performance ≪Stranger≫. Because this methodology was acquired through the researcher's long time body practice as a practitioner of theatrical arts, it is very important to summarize the meaning of this once again. That is, this empirical knowledge is knowledge in the inner creative process that is never allowed to a researcher who is an observer. The knowledge acquired in this inner creation process has the meaning of inner analysis as stated in the performing arts called ethnoscénologie, and presents the result of a study on the phenomenon of Korean theater creation through an academically proven external analysis and a research methodology that forms two axes. In addition, from an artist's personal standpoint, it provides important information that allows him to know his own aesthetic characteristics that are revealed through internal inquiry and to expand them to a universal aspect. The stage of visualization begins with the thesis question that exists between analysis and interpretation. Visualization expands the questions revealed in the results from the method of analyzing the researcher’s work from this process, and uses this as a thesis to create its own interpretation of this. The main themes of this interpretation lead to conceptualization, and what is conceptualized is transformed into a meta-image, and it can be seen as a work in the process leading to its sensitization or symbolization. What is important here is the problem of how to construct this sensitized image? And the researcher explained this as the concept of 'structure/chain'. Just as the contradiction of light, that is, the property of light, which is both a wavelength and a particle, shows one aspect of light, this structure and chain are a performance image of a state of interlocking and connecting. In addition, if the explanation is made through the elements of the time delay (temporisation) and spacing (espacement) that appear in Derrida's term difference, the method of sensitizing this and making it attractive is the image structure/chain of this researcher. To achieve this, first of all, it is necessary to turn literary descriptions into literary actions and make them into a theatrical action, a performance image of state. The sensuous images that make up the structure and state of these images are visualized through the visualization of dialogue in the scenes created by the performance image of the state, that is, words that are reorganized and redefined in action. Words are more embodied through structuralist speech borrowed from Levistros' structuralist anthropology. Instead of focusing on the phenomenon of speech, it is to create the phenomenon of speech by focusing on the relationship between the elements that make the phenomenon of speech. In other words, speech becomes a constitutive relationship of the elements that make up the phenomenon of speech, and this is explained as the "principle of making results" in theatrical anthropology pursued by Eugene Barba. Through this method, it is grasped that the interpretation of the man who shot toward the sun with his back on death was created, and the intense 'immovable sun' soon became a symbol of death, and the repetition of daily life works like a rotating towel, and there are countless deaths in it. This contingency is explained by Sartre's concept of bloodiness. In other words, "existence takes precedence over essence." Based on this, the concept of the stage, the empty world and the coffin create meaningless repetitions of daily life, and on this foundation, humans experience many deaths and eventually face perfect death. Therefore, through the appearance of life that comes into Meerso's gaze, looking at the last death with his back, he realizes the countless deaths experienced on the basis of this coffin and the death given by the immovable sun at its core. Therefore, the structure/chain of sensational images of this work is created based on this concept and interpretation. This work is a visualization method of the deaths revealed in the repetition of meaningless life on the basis of the coffin that created the concept of deaths symbolized by the sun of pause and the sensory alienation effect.

논문 : 음악극화한《털복숭이 원숭이》의 창작의 과정과 그 방식에 대한 연구

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2014 연극교육연구 Vol.25 No.-

This paper is related to ‘Empirical Knowledge System’ that was obtained during the practical study of the creation process of《The Hairy Ape》as a ``music drama`` with characteristics of ``theatre-dance``. To speak more accurately, it can be said as drama emphasizing the element of music in the aesthetic format of theatre-dance. That is, it can be said as music with the structure in which dance is made under materially conceptualized space as ``musical dramaturgy``. Therefore, the structure of music makes visual flow of feeling that makes materialized space image as realization of theatrical theme move. Granting ‘sensory order’ to the image to be created by space realizing the theme is just the structure of music and it can be said as music drama of theatre-dance where such structure of music leads drama. Therefore, it is different from music drama as realization of music forming the top of the hierarchy as Appia. The first thing to reveal the text theme is ‘the structure of materialized concept``. And ultimate realization of the text is the flow of feeling image to be revealed by means of movement with actors using the structure. Then the specific means to make them move are just structure of music. Therefore, music is the ultimate means to realize the text. That is, conceptualized space is the structure analyzing the chunks of text cases and what makes this space dance is the structure of music. Systemizing and giving meaning to empirical knowledge acquired by a creator from his creative work is also showing the results of a very important symbolic action of internal human behavior, which can’t be known to theorists or audiences as outside viewers. This is a ``living phenomenon of creative work`` and is also important data showing an ecological phenomenon of actual theatrical creation. Therefore, introducing the context of such a series of creative work in this paper and giving meaning to it can be seen as important tracking path of research showing the empirical results of the ‘living’ internal creative ways as well as significant results revealing the continuity of the ``living`` research.

소설,《죄와 벌》을 공연화하는 창작과정에 나타난 연출의 미학적 특징: 이미지에서 드라마로

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2012 연극교육연구 Vol.21 No.-

텍스트를 시각화하는 방식들 - 핀터의 ≪재에서 재로≫와 모파상의 ≪오를라≫를 중심으로

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2018 연극교육연구 Vol.33 No.-

This thesis is about the empirical knowledge, which is one of the important foundations of the study of performance called “Ethnoscenology”. It is a research on the special characteristics of the internal process in the unceasing practical research by myself, the researcher. In this thesis, it is intended to centrally deal with Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫, which are on the extension lines of the series of the tasks in the front which reveal the special features of the directing aesthetics of myself, the writer. Or, in other words, regarding the methods of the visualizations of the texts with the two aspects that are different from each other, which I, the researcher, had directed, it is intended to take a look regarding the specific methods of the visualizations by being centered on the texts, Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫. Pinter's ≪Ashes to Ashes≫ is a work in which the realistic elements and the absurdity elements that break them up are mixed. I, the writer, visualize such two structures through the contradictory forms. Or, in other words, it is the visualization of the space of the everyday life, which is a realistic stage, into the conceptualized, sensible images and the visualization of the unfolding of the fragmented, suggestive, and uncertain absurdity language into the specific behaviors. As a result, I, the researcher, set up the space of the specific everyday life of this work as a conceptualized, sensible space or, in other words, as a space in which the fragments of the hidden memories are revealed. These fragments of the hidden memories become the dramatic space which is revealed by the light. Such a light is especially defined by the lamps that are placed on the entire stage. Or, in other words, according to the diverse forms of the lamps and the quality of the light, the fragments of the memories of Rebecca get sensibly visualized. In contrast, the unfolding of the Pinter-type absurdity language or, in other words, the Pinteresque language gets visualized through the behaviors and the movements which can be specifically, clearly, and definitely read. Such actions return as the rhythmized actions or the play and dance actions that can read and that can feel specifically by aggressively interpreting the organizational elements of the works which Pinter enjoys using especially like the pause, the silence, and the three dots and, especially, the subtexts internalized within the pause. If the absurdity lines in the ≪Ashes to Ashes≫ by Pinter had focused on finding the specific behaviors, the lines in ≪The Orla≫ had concentrated on finding the conceptualized, sensible images. The reason is that this work directly explains the content of the work to the audience with the monologue format that is led by one narrator. As a result, ≪The Orla≫ focuses on how to sensibly visualize the conceptual meanings that are possessed in the lines. Or, in other words, it is that the explanatory speech and the stage that is not explanatory must actualize a balance. It is the meaning that the filling of the words and the emptiness of the space must have tied the mutual relationship. Regarding the proceeding of the play, the explanation through the words disappears, and the emptiness of the space possesses the process that gets filled. The specific places in the novel get transformed into the metaphorical images of which the concepts were made sensible. The beautiful house and the space of the abundant everyday life of the narrator had been returned as a space which shows the tragic phenomenon of the existence of the human beings through the meeting with the surrealistic existence called “The Orla”. Or, in other words, it is that the essence of the phenomenon of the existence of the human beings, which is revealed within the meeting with the surrealistic existence called “The Orla”, is, eventually, the matrix within the devastated wasteland which is floating in the air by being shut up inside a frame. The lyrics, also, are mainly expressed within the conceptualized and sensible images that reveal the anxiety, the fear, and the incapability of the possession which occur within the tragic situations of the existence of the human beings who are shut up within the frame. In these works, eventually, I, the writer had attempted the tasks of returning the everyday life to the abstraction and the abstraction to the concreteness. Or, in other words, the visualizations took place by returning the narratives to the conceptualized, sensible images and the abstract words to the concrete, rhythmized acts.