포장 김치의 숙성에 맞춘 CO₂ 흡수제 배합비율 설계

정수연,이동선,안덕순,Jung, Soo Yeon,Lee, Dong Sun,An, Duck Soon 한국포장학회 2021 한국포장학회지 Vol.27 No.1

Calcium hydroxide (CH) reacts with CO2 to produce moisture, and sodium carbonate (SC) reacts with CO2 in the presence of moisture. Using these different characteristics of these two reactants, a CH/SC mixture of CO2 absorber tuned for kimchi ripening to produce CO2 in a flexible package was selected. A ratio of CH:SC (1:2) in highly gas permeable microporous spunbonded film (Tyvek) sachet was found to be appropriate for delayed and consistent CO2 absorption useful for kimchi package. Addition of superabsorbent polymer (SAP) as moisture buffer was helpful for boosting the consistency of CO2 absorption. In a package of 0.5 kg kimchi at 10℃, the sachet consisting of 0.794 g of CH + 2.276 g of SC + 0.4 g of SAP suppressed its volume expansion and maintained a suitable range of CO2 partial pressure (PCO2) steadily inside. These optimal conditions may vary depending on the type and salinity of kimchi, storage and distribution temperature, and the material and area of the absorber sachet. This study showed a potential of mixture CO2 absorber to be tuned for CO2 producing packaged kimchi for the purpose of keeping consistent PCO2 at tolerable volume expansion.

논문 : 아내 장례식의 상징행위에 나타난 공연의 원리 2 -변화와 실천; 장자의 경우-

정수연 ( Soo Yeon Jung ) 한국연극교육학회 2013 연극교육연구 Vol.23 No.-

The performance of Zhengzhou in the funeral of his wife doesn`t show the characteristics of performance in general; there isn`t the interaction of the performer and the audience, the performer is interested in his enlightenment rather than the transformation of the audience, so that the meaning of the performance comes from his inner side, not from the interaction. But essentially, it has the elements of performance. First, it pursues ethicality. His unethical actions in the performance which offends against the Confucian standards is the challenge to the rigidity of ethic of the time. In fact, his performance aims at the recovery of the ethic. Second, it centers on the introspective individual who is able to keep his identity and express his feelings regardless of others. Third, it opens up the possibility of the communication by the change of the performer himself, for the one who has room for change is able to communicate with others in any time. So Zhengzhou rediscovers the meaning of an affair of the human life by the shocking symbolic actions in the funeral. And this is the purpose of the modern performance-the synthesis of art with everyday life.

논문 : “아내 장례식”의 상징행위에 나타난 공연의 원리1 -재현과 기억; 에제키엘의 경우-

정수연 ( Soo Yeon Jung ) 한국연극교육학회 2013 연극교육연구 Vol.22 No.-

Ezekiel, a prophet of ancient Israel, is remarkable as a performer. Ancient Israel had no specific theatrical culture, but the prophets had sometimes announced the messages of Yahwe by various symbolic action. Ezekiel gave the most performances among them, and ``Lath of the Wife of Ezekiel`` is his representative symbolic action. When his wife was dead as Yahwe had said, he did an unaccountable action. People asked why he did such a thing, and he explained the meaning of it. His performance represented symbolically the imminent judge of Yahwe. ``Death of the wife of Ezekiel`` has theatrical structure. The text--``he words of Yawhe``--is given. Acting the text before the audience, Ezekiel convey the meaning of it. His performance is different from the modern performances-in which the meaning of it arises from the interaction of the performer and the audience--in that the performer explains directly the meaning of it to the audience. In the light of the absolute authority of the text, the performer as a messenger, the passive audience, his performance is distinct from the modern performances focusing on the liberation from the fixed meaning. Ezekiel is trying to remind the audience about their past, in order that they can rediscover their identity and face the erosion of it by his performance. In other words, the purpose of it is to establish the existing meaning not to create a new meaning. The reproduction of history and the recollection of the past are essential in his performance.

1980년대 연극계의 "인정" (recognition) 발생 기제 연구 -<품바>와 마당극의 경우-

정수연 ( Soo Yeon Jung ) 한국연극학회 2008 한국연극학 Vol.0 No.35

공연으로 완성하는 윤리의 세계 -「악기」(樂記)의 공연미학과 윤리의식

정수연 ( Soo Yeon Jung ) 한국연극학회 2009 한국연극학 Vol.0 No.39

「Ak-Gi」(樂記) is the ancient art theory in East Asia. This text have been studied as a music theory. But `Ak`(樂) includes music, poetry and dance. So it is reasonable to regard `Ak` as a performance. The first element of `Ak` as a performance is emotion. Emotion is social as well as individual because it is created by the stimuli of social relationships. When one express his emotion without twists to the stimuli, he can get an objective view. The second element is a narrative. `Mu-Ak`(武樂) shows one of the best narrative of a performance. A narrative is a draft for it and a medium which enable one to understand others. In this respect, historical narratives are very important. We can bring the past ideal world to the present and give a vision for the future by them. The third element is its influence on a audience. `Ak` becomes perfect in a audience. They experience the various ways of relationships-`Hwakyoung`(和敬), `Hwasun`(和順), `Hwachin`(和親)-indirectly through `Ak`. These three notions are based on ethics. Ethics is the principle of harmony, on which men and women can coexist admitting the differences. We practice the principle indirectly through a performance. So it is social. That is why the ultimate end of a performance is to rebuild ethics. And that is why <Ak-Gi> is important as a performance theory in the present.

묵자의 「비악」(非樂)론에 나타난 제도 공연 비판의 쟁점

정수연 ( Soo Yeon Jung ) 한국연극학회 2011 한국연극학 Vol.1 No.45

「Bi-Ak」is the performance theory of Mukcius. His theory is unique in many points. First, it is a criticism on performances rather than a philosophy of art. While this is the theoretical principles, but that is the explanation how the art worked in the age of Chinese Warring States. Mukcius considered how confucian scholar`s doctrine of performance showed its limits in practice. Second, he argued the uselessness of art. In other words, he stressed the tasks of art by opposing itself. Third, he explained the need of art in the view of common people not of the nobles. In his time, the nobles were the main agents of art, for performance was one of political means. Mukcius pointed the harmful consequences of the confucian doctrine and criticised the helplessness of art in the troubled times. Furthermore, he claimed that the art as amusement for the nobles should be discarded. Nevertheless, he didn`t deny the ideals of the confucian doctrine. For him, newness in performance is the restoration of the original ideals of it. 「Bi-Ak」asks what art should not miss, what it should keep in spite of the rapid changes of society. It is a starting point of the theory of art by Mukcius. He teaches us that the true experiment and progression of performance is to restore the original ideals of it.

「함지」 (咸池) 악론을 통해 본 배우의 존재 방식

정수연 ( Soo Yeon Jung ) 한국연극학회 2010 한국연극학 Vol.0 No.42

「Hamji」 is the performance theory of Zhengzhou. It is the only part which deals with performances specifically in `Zhengzhou`. Though it is generally accepted as a theory of music, it can be said as a performance theory in some respects. First, it deals with performers. And it talks about the body as a very important medium of acts of performers. Thirdly, it emphasizes that the characters of performers can provide diverse creative experiences to the audience and to themselves. In this regard, 「Hamji」can also be said as the theory of actors. According to 「Hamji」, there is three qualifications for actors. The first thing is imagination with which actors act other characters. This doesn`t mean that they identify with the characters. Actors should be in harmony with the characters keeping their own identity. The second thing is the skilled body for free expression. Natural expressions come from unnatural constant training. And the third thing is an interaction between the audience and the actors. They produce performance as the wind and the holes of the pipe produce sound. Aesthetic experiences need both the expression of actors and the acception of the audience. There should be a flow between actors and the audience. For this, actors empty themselves keeping their identity in order that the audience can flow into them. To be a good actor is to learn to be a good man. That is why actors are Homo Humanitas. For the basis of their identity consists in coexistence with others and communion with them.

전신홍반루푸스 환자에서 발생한 자발성 내장혈관 출혈

정수연 ( Soo Yeon Jung ),이미정 ( Mi Jeong Lee ),김찬준 ( Chan Joon Kim ),박정화 ( Chung Hwa Park ),장수선 ( Soo Sun Chang ),문수진 ( Su Jin Moon ),김완욱 ( Wan Uk Kim ) 대한류마티스학회 2010 대한류마티스학회지 Vol.17 No.1

Spontaneous visceral hemorrhage is a rare complication of systemic lupus erythematosus (SLE). We report here on a 55-year old male with SLE and who presented with acute abdominal pain due to bleeding of the hepatic artery and the splenic artery. Angiography revealed a spontaneous hemorrhage from branches of the hepatic artery and the splenic artery. We report here on a case of spontaneous recurrent non-traumatic hemorrhage of a visceral artery in a patient with secondary antiphospholipid syndrome (APS), and such a condition has not been previously described in a Korean patient with SLE.

1940년대 신극계의 정체성 형성과정 연구

정수연 ( Soo Yeon Jung ) 한국연극학회 2005 한국연극학 Vol.0 No.26

The purpose of this study is to examine the process that the identity of modern theatre in 1940s was established. Generally the modern theatre in 1940s has been discussed centered on the political environment, which is the Japanese Colonial Period and the Period of U.S. Army Military Government in Korea. However, this external circumstance functioned, for the modern theatre of that period, as the factor that made its internal standard established. Unlike the self-controlling performance order which was centered on the dramatic company before, the theatre system formed in the Japanese Colonial Period and the Period of U.S. Army Military Government in Korea was appeared as the device that made the association-centered controlling order regularized. This device became the criterion that distinguished systematically admitted from unadmitted and according to this criterion, they discriminated between `good theatres` and the theatres which were not. Consequently, through 1940s, the modern theatre had come to get its position as `good theatre which was admitted systematically`. The first thing that the field of modern theatre wanted to exclude by the system was the popular theatre. In fact, there were two steps on the discrimination. The first distinction was to eliminate the popular theatre by the system, and the second one was to extend the concept of realism to that of formality. The modern theatre tried to gain the originality in its contents which were distinct from the dramatic degree of completion that the popular theatre accomplished. The discussion of the modern theatre whose keynote was the romanticism was about the extension of the concept of realism to the aspects of the formality. Since then, the formal degree of completion was recognized as the way they could innovate the modern theatre newly, and this kind of discussion became the motive power to release the theatre from the field of reality to the field of art. After Korea was released from the domination of Japanese Imperialism, passing through the Period of U.S. Army Military Government in Korea, the identity of the modern theatre became more precise. In the Japanese Colonial Period, though the modern theatre secured its identity through the passive process of `excluding` the others, it tried to accomplish its artistic originality by `identifying` itself with the others in the Period of Korea Liberation. The object for identifying was the foreign theatre in translation. This current requested a new group of the intellectuals who had a literary ability and professionality to introduce the foreign theatre in translation. In the core of that, there were college students and college theatre. The college students were the introducers and the consumers who imported the newest U.S. culture at this time of the transition period of culture. The college theatre that they led came to rise as the subject which transfused the new theatre by overcoming various realistic problems, such as the inferiority complex that the modern theatre had about the literature, artistic weakness of the existing dramatic company which was in charge of national policy performance, and the censorship system which was relatively easy to pass. While the human resources who had the academic capital were built up, the foreign theatre in translation, which was authorized as theatrical canon, was accepted to the field of the modern theatre as theatrical classics. Regardless of the fact whether it was actually played or not, and the verification by the receptivity of audience, it was accepted as the standard of value which was already formed. By putting down its root as not only `the text that should be performed`, but also `the text that should be preserved` by the educational system, the foreign theatre in translation was established as a criterion to estimate the theatrical achievement of all theatres. The fact that the Shakespeare theatres, which had never been played in the Period of Korea Liberation,

증례 : 소화기 ; 망막박리를 동반한 HELLP 증후군 1예

정수연 ( Soo Yeon Jung ),신주영 ( Ju Young Shin ),전은정 ( Eun Jung Jeon ),오정환 ( Jung Hwan Oh ),정정조 ( Jeong Jo Jeong ),한남익 ( Nam Ik Han ),최상욱 ( Sang Wook Choi ) 대한내과학회 2009 대한내과학회지 Vol.76 No.1S