• Journal of the Korean Society for Marine Environment & Energy
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• v.8 no.4
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• pp.203-212
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• 2005

Anthropogenic emissions of greenhouse gases, particularly carbon dioxide($CO_2$) which arises mainly as wastes from the fossil fuel burning processes, are causing global warming. The effects of global warming become increasingly felt all over the world including sea level rise and extreme weather. The more direct consequences of the elevated atmospheric $CO_2$ on the ocean is the acidification of the surface ocean which brings a far reaching adverse impact on the life at sea and probably on the whole ecosystem of the planet. Improvement in energy efficiency and use of alternative energy sources are being made to reduce $CO_2$ emissions. However, a rapid transition to alternatives seems unachievable within a few decades due to the constraints on the associated technology and socio-economic factors in the world, since fossil fuels make up approximately 85% of the world's commercial energy demands. It has now been recognized that capture and geological sequestration of $CO_2$ could significantly reduce its emissions from fossil fuel utilization and therefore provides the means to rapidly achieve large reductions in $CO_2$ emissions(excerpts from London Convention, LC/SG 28, 2005). In Korea, well-developed sedimentary basins are spread over the vast continental shelf and slope regions, whereas, the land is densely populated and limited in area. Consequently, the offshore area is preferred to the land for the sites for geological sequestration. The utilization of the offshore area, however, may be subject to international agreements including London Convention. In this paper, the recent trends in technologies and regulations for $CO_2$ capture and geological sequestration are described to encourage its applications in Korea.

• Korean Journal of Food Science and Technology
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• v.51 no.5
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• pp.447-451
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• 2019

6-gingerol can be converted to 6-shogaol, one of the predominant active compounds found in ginger, via processing such as drying and extraction. Subcritical water extraction is the environmentally friendly method of extraction of bioactive compounds using only purified water as a solvent. This study investigated subcritical water extraction ($190^{\circ}C$, 15 min) of 6-gingerol, and 6-shogaol from dried ginger (Zingiber officinale) including drying conditions such as temperature (room temperature, 60, $80^{\circ}C$, and freeze drying) and time duration for drying (1-4 h). The amount of 6-gingerol was found to be reduced, and that of 6-shogaol was found to be increased depending upon the water content of dried ginger. Upon oven-drying ginger at $60^{\circ}C$ for 2 h, the maximum yields of 6-gingerol ($0.18{\pm}0.02mg/g$ fresh weight), and 6-shogaol ($0.47{\pm}0.02mg/g$ fresh weight) were obtained upon subcritical water extraction.

• The Journal of the Korea institute of electronic communication sciences
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• v.17 no.1
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• pp.77-84
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• 2022

A submarine power cable is a transmission cable for carrying electric power below the surface of the water. Recently, submarine cables transfer power from offshore renewable energy schemes to shore, e.g. wind, wave and tidal systems, and these cables are either buried in the seabed or lie on the ocean floor, depending on their location. Since these power cables are used in the extreme environments, they are made to withstand in harsh conditions and temperatures, and strong currents. However, undersea conditions are severe enough to cause all sorts of damage to offshore cables, these conditions result in cable faults that disrupt power transmission. In this paper, we explore the design criteria for such cables and the procedures and challenges of installation, and cable transfer splicing system. The specification of submarine cable designed with 3 circuits of 154kV which is composed of the existing single circuit and new double circuits, and power capacity of 100MVA per cable line. The determination of new submarine cable burial depth and cable arrangement method with both existing and new cables are studied. We have calculated the permission values of cable power capacity for underground route, the values show the over 100MW per cable line.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.75-89
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• 2020

As Marvel Cinematic Universe (MCU) Phase 3 concluded in 2019, it is time to systematically analyze the phenomenal storytelling of the franchise. In order to identify the structure of the continuous stories focusing on 'Iron Man', the central character of MCU Phase 1-3, this study used the "Save the Cat (STC)" paradigm as the tool for narrative analysis. The eight films with 1,066 minute-run time in total was analyzed based on the 15-beat STC paradigm by adjusting the distance ratio between each beat of its prototype originally based on standard films of 110 minute-run time. The results reveal that all 15 beats of the combined texts were fairly properly discovered in the positions suggested by the adjusted STC paradigm. Moreover, through the investigation, the vast text was able to be analyzed in a more comprehensive manner in the process of reconfirming the meaning of the dramatic reversals corresponding to each beat against the entire narrative. As expected, the STC paradigm proved to be a meaningful signpost for plot drives even for such a vast text. Therefore, it is believed that application of this paradigm would help not only analyze but also design other serialized franchises as well. Prior to that, however, it would be necessary to further examine the combined texts for other major characters in MCU or other franchises designed in a similar form to MCU movies through the same paradigm to verify effectiveness of such application.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.9-54
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• 2019

Since the birth of melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution. The modern melodrama was formed in the period between the end of the 18th century and the start of the 19th century. It was born at the intersectional point of the contradictions of the modern imagination and the political paradox of the French Revolution, which demanded an autonomous citizenship but did not recognize a woman as a citizen. The aesthetic of women's sacrifice and tears reproduced in the modern melodrama is a political aspiration to restore a corrupt society by glamorizing a woman as a moral icon. This was an icon to save a society under divide and crisis and a coordination of emotions to conceal sexist violence in the politics of the exclusion of women. The aesthetic of women's sacrifice and tears reproduced in modern melodrama has consistently been considered under negative evaluation such as a play of moral hypocrisy and vulgar drama. However, the academic interest in melodrama in the 1970s has been amplified due to the "Sirk-melo" which is a transition to the new aesthetic of women's sacrifice and tears, encompassing not only women, but also races and classes. In modern society, entering the era of uncertainty, where various social problems, national disasters, and global disasters have become commonplace, 'the aesthetic of women's sacrifice and tears' are shifting from gender differences to various victim narratives. Reviewing new theoretical trends and changes of recent melodrama as well as analyzing specific works are left as follow-up tasks.Since the birth of the melodrama in the early Enlightenment era, it has flowed through various cultures and media. In order to grasp the principle of differentiation of melodrama and the direction of its change, a developmental approach to the formation process of melodrama is basically necessary. In this regard, this paper examines the formation process of modern melodrama and its aesthetic features around the time of the French Revolution.

• Korean Journal of Soil Science and Fertilizer
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• v.12 no.3
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• pp.117-124
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• 1979

The present work was carried out to study the fate of applied phosphorus labelled with $^{32}P$ and its availability to plants in soils subjected to different management practices. The results can be summarized as follows (Table 3): 1. The applied phosphorus was transformed into different phosphorus compounds in the soils depending upon the management practices and soil characteristics. 2. In the flooded paddy soil (pH 5.8) added P after one week of incubation was transformed into various fractions, the order of abundance being: Al-P> Ca-P$${\sim_\sim}$$Fe-P> Org.-P. After two weeks the order changed to: Fe-P> Al-P> Ca-P> Org.-P. The amounts of the Fe-P and Al-P fractions were found to increase from the second week of incubation whereas a decrease in Ca-P was noticed with the organic-P remaining constant. The amount of available P decreased from the first to the third week of incubation, but increased thereafter. 3. In the volcanic ash soil a major proportion of the applied phosphorus was found in the Fe-P fraction during the whole experimental period. The interconversions of the $^{32}P$ among the different phosphate fractions was not as evident as in the case of flooded rice soil. The recovery of applied P was low and remained constant throughout the incubation period. 4. In the upland soils relatively more of the applied phosphorus was found in the Ca-P fraction as compared with those of the other soils. As in the flooded paddy soil $^{32}P$ in the Ca-P fraction decreased with increasing incubation time, whereas in the Fe-P fraction it increased with time. The recovery of added phosphate as available P followed different patterns for the cultivated and the uncultivated soils. In the cultivated soils lit was relatively high and remained nearly constant during the whole incubation period. In the uncultivated soil on the other hand, it was high at the earlier time of incubation, but decreased with incubation time.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.