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Localization of Directed Polymers in Random Media due to a Columnar Defect
이종대,김진민,Jae Hwan Lee 한국물리학회 2015 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.66 No.8
We investigate the localization of directed polymers in random media due to the presence of an attractive columnar defect at the center of a two-dimensional substrate. If the defect’s strength is too weak to affect the polymers, the localization length of the polymers exhibits a power-law behavior as a function of the polymer length, as in the case of no defect. When the defect’s strength is greater than a critical value, the localization length approaches a finite value, thereby yielding a localization length exponent (or liberation exponent) ν⊥ = 1.8004(31). The correlation length, which is perpendicular to the localization length, is defined as the distance over which the polymer is localized by the defect. The correlation length exponent ν = 2.881(5) is estimated from the data collapse via the scaling relation ζ = ν⊥/ν, where ζ = 5/8 represents the wandering exponent. In addition, we measure the number of times that the optimal path passes through the defect, because that number increases as the defect’s strength increases. This measurement yields a new critical exponent λ = 0.59.
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1920년대 희곡인식 연구 - 현철의 「玄堂獨吠, 第四設 戱曲의 槪要」
이종대 상허학회 2001 상허학보 Vol.7 No.-
In Introduction to Drama, Hyun, Chol presents particularly the purpose of dialogue and how to write a conversation, the meaning of character and the method exhibited, and, above all, the phases of constructing the drama and the function of each phase. And, besides that, he explicates more fully his view point on what the subject(idea) is, the way to demonstrate the idea, why the unity of character, place, and time, that is, the trinity of the drama, is emphasized, or the reason it is overlooked. But while his method of the drama is focused on literary quality rather than the theatrical elements, the ingredients of the drama for example, the optic and the auditory apparatuses, etc, like music and spectacle in Aristotle's Poetics - are disregarded. But it is clear that Introduction to Drama is a critical work attempted solving the concrete difficulties in originating the drama in 1920s which increased the historical demands for writing the play. That literary classes were enchanted by the drama in 1920s was closely connected with historical background which was much eager for enlightenment of the intellectuals including a literary man. At that time, the drama was a very strange genre for them. But, experienced in the social effect of drama, they seemed to regard the drama as the attractive means of enlightenment rather than as art itself, and they had, moreover, known that the new drama(Shinpaguk) was not a legitimate drama. Thus, observing the craze for the new drama introduced from Japan, they initiated the so called “the movement of modern drama," so that the persons concerned with the new drama, according to the requests of audience, must exploit more subjects, and worry about manners to effectively expressing subjects, because it spent many years to embody a form and a genre in literature. It was, thus, impossible to momentarily appear a new form of the drama in accordance with the requisitions of spectators, and furthermore, it were not satisfied by audiences that the contemporary dramatists tried to unite 'new', a legitimate play, and the 'theatricals' into one. Early in forming the creation of the drama, the text of the drama was consisted of adoption, dramatization, composition, and translation, but it had a limitation by readily organized without any system, and a very insufficiency to satisfy the aesthetic demand of the people who had already taken the course of the western theory of modem drama. Introduction to Drama was accomplished in such a historical claim. In 1910s and 1920s, A lot of studies on the drama with the movement of modern drama were presented by various researchers, but most of them were accentuated to the introduction of theory and the spirit of the theatricality, and the essays were very rare that took notice on the drama itself. It was not too much to say that there were no other texts on the theory and the composition of drama but Hyun, Chol’ s writing. His text like a title is a introduction to drama and, at the same time, contains the necessary knowledge and the process of creation in writing play. Comparing the drama with narrative of the novel, he in his writing is fully introducing the plot, the individuality of character, and the subject, and presenting 'how to frame it'. But it is very regrettable that his text is more centered on literariness, so exclude the theatricals of the drama. Published serially from June, 1920, his articles were much likely to influence on the contemporary dramatists. And it had a very close relation with truth that the spectrum of the drama was completed at this period in our history of drama, and, as a result, a lots of the dramas were issued so countlessly that amount of works were not to be compared with former ages. After his work, the articles of creation on the drama were no longer found in 1920s, and various writers composed manners of the drama again until 1930s. If were member a great deal of works and the good books published in 1930s, this s...
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리튬이온 이차전지에서 Si/CNT/C 음극 복합소재의 전기화학적 성능에 대한 바인더 및 전해액의 효과
이종대 한국화학공학회 2022 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.60 No.3
본 연구에서는 고용량 음극 소재로 활용되는 실리콘의 부피팽창을 개선하기 위해 Si/CNT/C 음극 복합소재를 제조하였다. Si/CNT는 표면 개질에 의한 양전하 실리콘과 음전하 CNT의 정전기적 인력에 의해서 제조되었고, 수열합성에의해서 구형의 Si/CNT/C 복합소재를 합성하였다. 전극 제조는 poly(vinylidene fluoride) (PVDF), polyacrylic acid (PAA) 및 styrene butadiene rubber (SBR) 바인더를 사용하였고, 1.0 M LiPF6 (EC:DMC:EMC = 1:1:1 vol%) 전해액 및fluoroethylene carbonate (FEC)가 첨가된 전해액을 사용하여 전지를 제조하였다. Si/CNT/C 음극 복합소재는 SEM, EDS, XRD 및 TGA를 사용하여 물리적 특성을 분석하였으며, 사이클, 율속, dQ/dV 및 임피던스 테스트를 통해 리튬이온 배터리의 성능을 조사하였다. 활물질로 Si/CNT/C 복합소재, 바인더로 PAA/SBR, 전해액으로 FEC 10 wt%가 첨가된 EC:DMC:EMC 용매를 사용했을 경우, 50 사이클 후 914 mAh/g의 높은 가역 용량과 83%의 용량 유지율 및 2 C/0.1 C에서 70%의 속도 특성을 보여주었다.
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이종대 대한평형의학회 2016 Research in Vestibular Science Vol.15 No.3
Persistent postural-perceptual dizziness (PPPD) was derived from phobic postural vertigo and chronic subjective dizziness. Two key physical symptoms of PPPD are postural unsteadiness and visually induced dizziness. Although the underlying mechanism of PPPD is still enigmatic, the prognosis is good with adequate treatment. In this paper, diagnostic criteria, pathophysiology and treatment regar-ding PPPD will be reviewed.Res Vestib Sci 2016;15(3):70-73
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