http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
구희숙 同德女子大學校 大學院 1992 국내석사
Sequential changes in the hematological parameters of peripheral blood and lipid peroxidation products of the plasma were studied after treatment with phenylhydrazine in New zealand white rabbits. Also, the biosynthesis and degradation of catalase and superoxide dismutase of red blood cells in phenylhydrazine-treated rabbits have been investigated. The rabbits were made reticulocytotic by subcutaneous injections with neutralized phenylhydrazine(7.5mg/Kg body weight) on first, second and fourth day of experimental period. The results were summarized as follows ; 1. The erythrocyte and leucocyte counts of normal rabbit was 6.09×10^(6)/mm^(3) and 8.4×10^(3)/mm^(3), respectively. The erythrocyte count was decreased after phenylhydrazine treatment and reached a minimum value at the sixth day, but leucocyte count was increased after phenylhydrazine treatment and reached a maximum value at the fourth day. Platelet count of normal rabbit was 30×10^(3)/mm^(3) and after treatment of phenylhydrazine, it was increased gradually and reached a maximum value at the second day, that is about 11 times increment as compared with normal value. 2. The hemoglobin concentration of phenylhydrazine treatment was decreased to half times of normal rabbit on the sixth day and the turbidity of red blood cell lysate from rabbits was risen from second day after phenylhydrazine injection, and reached a maximum about the fourth day. 3. The reticulocyte count of rabbit blood showed gradual increase and reached a maximum value at the sixth day. The hematocrit of normal rabbit blood was 38.7%, but after treatment of phenylhydrazine, it was decreased to 18.1% at the fourth day. 4. The hemolysis of rabbit erythrocyte was increased significantly after phenylhydrazine treatment and reached a maximum value at the sixth day, that is about 15 times as compared with normal value. The plasma TBA value of rabbit on the seventh day after phenylhydrazine treatment was produced a maximal value which is larger about 2.5 times than normal value. 5. The activities of catalase and superoxde dismutase in normal erythrocytes was about 51.22 units and 1.51 units per mg protein, respectively. In the phenylhydrazine treated rabbits, catalase and superoxide dismutase activities was maximal on sixth day and the fifth day, respectively. 6. In the phenylhydrazine treated rabbit erythrocytes, at induction period of reticulocytosis, the kinetic constants of synthesis(Ks), degradation(Kd) and half life for catalase were 1.2700, 0.0089 and 77.9 hours, respectively. The kinetic constants of Ks, Kd and the half life for superoxide dismutase were 0.0600, 0.0144 and 48.1 hours, respectively. 7. In the phenylhydrazine treated rabbit erythrocytes, at recovery period of reticulocytosis, the kinetic constants of synthesis(Ks), degradation(Kd) and half life for catalase were 0.9216, 0.0180 and 38.5 hours. The kinetic constants of Ks, Kd and half life for superoxide dismutase were 0.0347, 0.0230 and 30.1 hours, respectively.
Re-synthesis of lithium ion battery cathode active materials
As the production and consumption of lithium ion batteries (LIBs) increase, the recycling of spent LIBs appears inevitable from an environmental, economic and health viewpoint. The leaching behavior of valuable metals such as Ni, Mn, Co, Al and Cu is investigated with ammoniacal leaching agents (ammonia, ammonium carbonate, and ammonium sulfite) for spent cathode active materials, which are separated from a commercial LIB pack in hybrid electric vehicles. Ammonium sulfite as a reductant is necessary to enhance leaching kinetics particularly in the ammoniacal leaching of Ni and Co. Ammonium carbonate can act a pH buffer so that the pH of leaching solution changes little during leaching. Co and Cu can be fully leached out whereas Mn and Al are hardly leached and Ni shows a moderate leaching efficiency. It is confirmed that the cathode active materials are a composite of LiMn2O4, LiCoxMnyNizO2, Al2O3 and C while the leach residue is composed of LiNixMnyCozO2, LiMn2O4, Al2O3, MnCO3 and Mn oxides. Co recovery via the ammoniacal leaching is believed to gain a competitive edge on conventional acid leaching both by reducing the sodium hydroxide expense for increasing the pH of leaching solution and by removing the separation steps of Mn and Al. Further, LiNi1/3Co1/3Mn1/3O2 cathode active materials are synthesized by using hydroxide co-precipitation method in simulated leaching solutions. An optimization conditions (pH and reaction atmosphere) and an effect of extra Li ions in simulated leaching solutions are investigated. Precursors and the active materials show spherical morphology, and their particles size has a tendency to increase with decreasing pH value. The LiNi1/3Co1/3Mn1/3O2 active materials at pH 10.50 present a relatively narrow particle size distribution, high crystallization, and good cycling performance. The LiNi1/3Co1/3Mn1/3O2 active materials in N2 atmosphere show a narrow particle distribution, good layered structure compared to the active materials in air atmosphere. The electrochemical performance of active materials in N2 atmosphere exhibits good cycling performance at low and high temperatures and low charge transfer resistance compared to the cathode active materials in air atmosphere. The amount of Li ions in the precursors obtained from simulated leaching solutions appears insignificant after adequate washing of precursors. The precursors with Li have spherical morphology and almost identical particle sizes similar to those without Li. 전기자동차, 모바일 IT기기 등의 수요가 증가함에 따라 리튬이온전지의 생산 및 소비가 증가하여, 폐리튬이온전지의 재활용은 환경적, 경제적 관점에서 반드시 요구된다. 본 연구에서는 하이브리드 자동차용 폐리튬이온전지로부터 파/분쇄된 양극활물질을 대상으로 암모니아 침출제 (NH3, (NH4)2CO3, (NH4)2SO3)를 이용해 양극활물질 내의 유용금속 (Ni, Mn, Co, Al, Cu)의 침출거동을 조사하였다. 환원제 ((NH4)2SO3)는 Ni과 Co의 암모니아침출에서 침출속도를 증가시키기 위해 필수적이며, pH 완충제 ((NH4)2CO3)는 침출하는 동안 침출용액의 pH변화를 최소화하기 위해 필요하다. Co와 Cu는 대부분 침출된 반면, Mn과 Al은 거의 침출이 되지 않았으며, Ni은 30% 정도의 침출률을 확인하였다. 특히, Co 회수의 경우 Co 침전을 위하여 추가되는 염기성 용액의 양을 줄일 수 있고, 침출액 내의 Mn과 Al의 분리단계를 줄일 수 있기에 산침출보다 경제적으로 이점이 있다고 여겨진다. 침출용액으로부터 직접 양극활물질을 재합성하는 방법을 검토하기 위해 LiNi1/3Co1/3Mn1/3O2을 수산화공침법을 이용해 합성최적화 (pH, 반응분위기)를 수행하고, 침출용액에서 과량의 리튬이온의 영향에 대해 알아보았다. 전구체와 양극활물질은 pH가 감소함에 따라 입자크기가 증가하는 경향을 나타냈다. pH 10.50의 LiNi1/3Co1/3Mn1/3O2 양극활물질은 좁은 입자크기분포도, 높은 결정성, 좋은 수명특성을 보였다. 공기분위기와 비교하였을 때 N2 분위기의 양극활물질은 균일한 입자크기분포도, 고온과 저온에서 좋은 수명특성, 낮은 전하이동저항을 나타내었다. 과량의 리튬이온이 포함된 침출모사용액에서 제조된 전구체는 충분한 세척 후에 리튬이 거의 제거됨을 확인하였으며, 이 전구체는 리튬이온이 포함되지 않은 용액으로부터 제조된 전구체와 비슷한 구형의 입자와 입자크기를 갖고 있다.
여성 모티브를 활용한 연극적 회화에 관한 연구 : 연구작 <Comedietta> series를 중심으로
구희숙 홍익대학교 미술대학원 2011 국내석사
‘话剧性绘画’是通过话剧性叙述即形象叙事的美术倾向。事实上没有话剧性绘画的明确用语。但是邮政文明以后,新的构想运动即在形象的回归过程中显示通过叙述和叙事问题的美术倾向明显出现。还有,研究活用女性形象作者的倾向过程中发现,很多作者在积极的活用话剧性绘画的样式。 有叙述的构想美术复权以后,新的开始里面出现一些美术性特点。1960年以后,在构想美术中女性美术家的跃进明显。像男女平等主义和性问题是把悠久的男性中心主义象先锋的现代美术方式出现一样,表示女性在寻找自身的整体性的过程本身,代言先锋的现代美术性格。所以,‘通过女性形象的话剧性绘画’的倾向是人为的形态,不是短命的美术的一个倾向,而是现代美术的一个展开过程。 本论文为了把握美术史性的背景和研究者的造型性特点,分析以故事为中心的叙述问题和出现女性行动机为止的男女平等主义的历史。还分析主要作者的主体和作品。关于作品的议论和研究的过程,分以下阶段来分析。 在一章在关于话剧性绘画的背景,通过在新的构想绘画的倾向中出现的叙述和叙事的美术史性开始和展开,指明合并和体裁模糊的时代状况和要求。 在2章通过男女平等主义的展开过程,男女平等作者们的新方向在1970年代后期开始在1980年代正轨出现。在美国和英国、欧洲的各个国家谈论美术界的支配性制度中研究了多元主义、女性、反对少数集团的倾向以在与话剧性绘画的连贯向上研究女性动机的兴起过程。还了解活用女性动机的先行研究作者的全面展开过程。 在3章以研究者的代表系列‘Comedietta Shower Party'为中心,以分析其形象性和主体的表现方法,把话剧性绘画的特点分成 1)女性形象的象征性 2)话剧性绘画 3)解体的形象和艺术性倾向 4)女性性格局和色彩等;通过本人的代表作和主要作品的分析,明确的导出了女性形象和话剧性绘画的倾向。 特别是通过女性动机和话剧性绘画倾向代笔哦啊行作家的作品分析。通过这些得到的三种倾向是第一;包含轻柔故事似的绘画或叙述或实存的故事、电影、或话剧形象无规律的抽出并没有沉淀感的绘画。 第二;象征性动机在舞台上展示一样的绘画。 第三;一两种颜色和单调的形象向舞台上的道具一样,陈列型或装饰性的绘画。 了解到通过细致的倾向和本人作品连贯性导出的这样的倾向。在现代美术中是持续和多样登场的女性动机和话剧性倾向。这种倾向不局限在女性主义。可以分析为在美术领域的新解释,与说故事接轨,是视觉性表现形式的新的倾向。 「演劇的絵画」とは、絵画を通じる演劇的ナラティブをすなわち、イメージ敍事を通じる美術の傾向を言う。演劇的絵画とは用語が明確にないのが事実であるが、ポストモダン以後新しい具象運動すなわち、イメージの回帰過程で現れているナラティブと敍事の問題を通じる美術の傾向はくっきり現われている。また女性的イメージを活用した作家の傾向を研究しながら多くの作家が演劇的絵画の様式を積極的に活用していることが分かるようになった。 ナラティブがある具象美術の宝くじ以後、新しい開始には多くの美術的特徴が現われる。1960年代以後具象美術の中に女性美術家の躍進が著しく、必然的にフェミニズムとジェンダーの問題は男性中心主義の長年の歴史をまるでアバンギャルドの革命的方式により現代美術が生じたように女性が自分のアイデンティティを見つけていく過程の自体がアバングがルドした現代美術の性格を代弁するような様相を表している。それで「女性イメージを通じる演劇的絵画」の傾向は人為的な形態として短命した美術の一つの傾向ではない現代美術の自然な展開過程である。 本論文は美術史的な背景と研究者の造形的特性を把握するためにストーリーを中心とするナラティブの問題と女性的モチーフが出るまでのフェミニズムの歴史、そして主要作家の主題と作品を論議する。そして作品の論議と研究の過程は、次のように分けて分析した。 第1章では、演劇的絵画に関する背景で新しい具象絵画の傾向で現われているナラティブと敍事の美術史的開始と展開を通じて現代芸術が持っている統合されジャンル的な区分が分明でない時代的な状況と要求に関することを明らかにする。第2章ではフェミニズム美術の展開過程を通じてフェミニズム作家たちの新しい方向が1970年代後半から始まって1980年代に本格的に現れ、アメリカとイギリス、そしてヨーロッパの多くの国では美術界の支配的な制度と談論の中で多元主義、女性、少数集団に反対する傾向を演劇的絵画との連関性と女性モチーフの台頭過程で研究した。また女性モチーフを活用した先行研究作家の全般的な展開過程を作品を通じて調べた。第3章では研究者の代表シリーズである「Comedietta Shower Party」を中心とした。作品の形象性と主題の表現を分析するための方法として、演劇的絵画の特性を1)女性イメージの象徴性、2)演劇的絵画、3)解体されたイメージとポップアート的性向、4)女性的パターンと色彩などで分けて研究した。分けられた細部研究過程に本人の代表作と各主要作品との比較分析により女性的イメージと演劇的絵画の傾向を導出した。特に女性モチーフと演劇的絵画の傾向を代表的作家たちの作品分析を通じて分析した。これを元にして得られた三つの傾向は第一、軽くて柔らかく物語があるような絵画あるいはナラティブ又は実在の物語、小説、映画あるいは演劇のイメージが無作為に抽出され重くないように表現されている場合の絵画、 第二、象徴的なモチーフが舞台の上で開かれたような絵画、 第三、一・二つの色相と単調なイメージが舞台の上の小品のように羅列型あるいは飾りのような形象で現われる絵画であった。 詳細な傾向と本人作品との連関性を通じて導出したこのような傾向は現代美術の中に持続し多様に登場している女性的モチーフと演劇的傾向であることが分かった。このような傾向はフェミニズムに限らない。美術の領域にナラティブの新しい再解釈としてのストーリーテリングに合わせて視覚的表現様式の新しい傾向として分析されることができる。 ‘Theatrical painting’ means a trend of art through theatrical narration that is image narration. Although there is no clear definition for theatrical painting, an artistic trend is distinctively appearing through a new formative movement, i.e. issues for narrative and description which are shown during regression of images since post modernism. Moreover, I, during my survey for trends of artists utilizing feminine images, realized that many of artists have been actively using theatrical painting format. Since conceptual art with narratives was resurrected, in the beginning of new art, various characteristics of arts are appearing. As woman artists have been very active and distinctive in conceptual arts since 1960s and consequently feminism and gender issues and avant‐garde’s revolutionary modern arts were created under long history of men‐centric sentiments, this trend represents characteristics of modern art as if a process itself seeking women’s identity is modern art of avant‐garde. Thus the trend for “Theatrical painting through woman’s image” is a naturally deploying process of modern art not a short‐lasted trend of an art as an artificial form. This paper, in order to address art‐historic background and researcher's formative characteristics, will discuss story‐centric narrative issues and the history of feminism until feminine motive appears and themes and art works of major artists. And discussion and procedures for researches will be analyzed as following sections. In Chapter 1, it will be clarified what modern art's unintegrated and genre‐ambiguous situations of the times and its demands mean through narrative and descriptive art‐historical beginning and its deployments which appears as a trend of new objective painting. In Chapter 2, this paper, through deployment procedure of feminine arts, study that a new direction of feminine artists had been started from late 1970s and regularized in 19080s and how the US and U.K and other European countries had shown a trend against pluralism, feminine and minority groups among predominant system and discussions in connection with how relations with theatrical painting and feminine movies appeared. In addition, this paper will investigate overall deploying procedure for preceding artists using feminine motives. In Chapter 3, ‘Comedietta Shower Party’, which is representative series, will be discussed. This paper will discuss characteristics for theatrical painting as a method for analyzing formative aspect of art works and theme expression by following divisions: 1) Symbolic aspect for feminine images 2) theatrical painting 3) Aspects for disassembled image and pop arts 4) Feminine patterns and colors. After that, this paper will extract associations between feminine images and trends of theatrical paintings through the researcher's representative art works and comparison with each major art works. Especially, this paper analyzed feminine motives and trends of theatrical painting through art works of representative artists. Three trends extracted based on this analysis are following: First, it is paintings as if they bear light and smooth narrations or those as if images for narrative and real stories, novels, cinema or play are randomly extracted and expressed lightly. Second, it is paintings as if symbolic motives are spreading out on stages. Third, it is paintings as if monotonous images with a couple of colors are listed or decorated like props on stages. It has been known that this trend which is extracted by association between detailed trend and the researcher's art works is a trend for feminine motives and theatrical aspects. This trend is not limited to feminism. It is able to be analyzed as a new trend of visual expression form in connection with story‐telling as a new narrative re‐analysis for art areas. ‘연극적 회화’란 회화를 통한 연극적 내러티브를 즉 이미지서사를 통한 미술의 경향을 말한다. 연극적 회화란 용어가 명확히 없는 것이 사실이지만 포스트모던 이후 새로운 구상운동 즉 이미지의 회귀과정에서 보여 지고 있는 내러티브와 서사의 문제를 통한 미술의 경향은 뚜렷이 나타나고 있다. 또한 여성적 이미지를 활용한 작가들의 경향을 연구하면서 많은 작가들이 연극적 회화의 양식을 적극적으로 활용하고 있음을 알게 되었다. 내러티브가 있는 구상미술의 복권이후 새로운 시작에는 여러 미술적 특징이 나타난다. 1960년대 이후 구상미술 속에 여성미술가들의 약진이 두드러지고 필연적으로 페미니즘과 젠더의 문제는 남성중심주의의 오랜 역사를 마치 아방가르드의 혁명적 방식으로 현대미술이 생겨났듯이 여성이 자신의 정체성을 찾아가는 과정자체가 아방가르드한 현대미술의 성격을 대변하는듯한 양상을 보여준다. ‘여성이미지를 통한 연극적 회화’의 경향은 인위적인 형태로써 단명한 미술의 한 경향이 아닌 현대미술의 자연스런 전개과정인 것이다. 본 논문은 미술사적인 배경과 연구자의 조형적 특성을 파악하기 위해 스토리를 중심으로 하는 내러티브의 문제와 여성적 모티브가 나오기까지의 페미니즘의 역사 그리고 주요작가들의 주제와 작품을 논의한다. 그리고 작품의 논의와 연구과정은 다음과 같이 나눠 분석하였다. 1장에서는 연극적 회화에 관한 배경에서 새로운 구상회화의 경향에서 나타나고 있는 내러티브와 서사의 미술사적 시작과 전개를 통해 현대예술이 가지고 있는 통합되어지며 장르적 구분이 모호해진 시대적인 상황과 요구에 관한 것을 밝힌다. 2장에서는 페미니즘미술의 전개과정을 통해 폐미니즘 작가들의 새로운 방향이 1970년대 후반부터 시작해 1980년대에 본격적으로 나타났고 미국과 영국, 그리고 유럽의 여러 나라에서는 미술계의 지배적인 제도와 담론 가운데 다원주의, 여성, 소수집단에 반대하는 경향을 연극적 회화와의 연관성과 여성모티브의 대두과정으로 연구하였다. 또한 여성모티브를 활용한 선행연구 작가의 전반적인 전개과정을 작품을 통해 알아보았다. 3장에서는 연구자의 대표시리즈인 ‘Comedietta Shower Party’를 중심으로 하였다. 작품의 형상성과 주제표현을 분석하기 위한 방법으로 연극적 회화의 특성을 1) 여성이미지의 상징성 2) 연극적 회화 3) 해체된 이미지와 팝아트적 성향 4) 여성적 패턴과 색채 등으로 나눠 연구하였다. 나눠진 세부연구과정에 본인의 대표작과 각 주요 작품과의 비교분석을 통해 여성적 이미지와 연극적 회화의 경향과 연관성을 도출하였다. 특히 여성모티브와 연극적회화의 경향을 대표적 작가들의 작품분석을 통해 연구하였다. 이를 토대로 얻어낸 세 가지 경향은 첫째, 가볍고 부드러우며 이야기를 품고 있는 듯한 회화 혹은 네러티브가 있는 실재의 이야기, 소설, 영화 또는 연극의 이미지들이 무작위로 추출되어 무겁지 않게 표현되어 있는 경우의 회화와 둘째, 상징적인 모티브가 무대 위에서 펼쳐진 것과 같은 회화와 셋째, 한/두 가지의 색상과 단조로운 이미지들이 무대 위의 소품처럼 나열된 혹은 장식적인 형상으로 드러나는 회화였다. 세부적인 경향과 본인 작품과의 연관성을 통해 도출해낸 이러한 경향은 현대미술 속에 지속적이고 다양하게 등장하고 있는 여성적 모티브와 연극적 경향임을 알 수 있게 되었다. 이러한 경향은 페미니즘으로 국한되지 않는다. 미술의 영역에 내러티브의 새로운 재해석으로서의 스토리텔링과 맞물려 시각적 표현양식의 새로운 경향으로 분석될 수 있는 것이다.