• Journal of Hydrogen and New Energy
• /
• v.19 no.1
• /
• pp.10-17
• /
• 2008

This study has been focused on the partial oxidation(POX) of n-octane over Rh-containing catalysts supported on alumina. The catalysts for this reaction were prepared by incipient wetness(IW) and co-gel(CG) methods, followed by the calcination at $900{\circ}C$ or $1,200{\circ}C$. When applied to the POX of n-octane carried out at $600{\circ}C$ with C/O=3 and GHSV=3,450/h, the catalyst prepared by the CG method and calcined at $1,200{\circ}C$ showed the best activity, yielding 42% syngas($H_2$+CO) with the $H_2$/CO ratio of $2{\sim}2.4$. To enhance the activity and stability of catalysts, bimetallic catalysts were synthesized by the CG method. As a result, the performance of Rh-Ni/$Al_2O_3$ catalyst was superior to that of Rh/$Al_2O_3$ catalyst in terms of the catalyst stability, due to the retarding effect on the Rh-to-$Rh_2O_3$ transition by the addition of Ni. This result was confirmed by XRD, TEM, and TPR characterizations.

• 한국HCI학회:학술대회논문집
• /
• 2008.02b
• /
• pp.527-533
• /
• 2008

본 연구는 기존 RPG에서 주요한 재미 요소로 기능하던 성장 모티프가 MMORPG(Massive Multi-user Online Role Palying Game)에서 어떤 식으로 변형되어 나타나는 지 살펴본다. 성장과 역할 수행을 통해 재미를 얻는 게임인 MMORPG는 성장 서사에서 많이 나타나는 구조인 여정형 혹은 탐색형의 구조를 보편적으로 차용하고 있다. 그러나 기존 서사물에서 성장 모티프가 정체성 찾기와 같은 내면적인 변화를 나타내기 위해 구조를 차용하는 반면, 게임에서는 위의 구조를 통해 얻은 성장의 결과물을 수치의 증가나 외적 형태의 변화를 통해 나타낸다. 즉, 경험치나 아이템을 통해 성장이 수치화되어 나타나는 것이다. 이는 여정형 탐색담이라는 성장 서사의 보편적 구조에서 게임적인 특수성이 더해진 것이라 할 수 있다. 성장 소설만의 서사적 유형이란 바로 주인공의 변화 양상이 미숙에서 성숙으로, 불완전에서 완전으로, 결핍에서 충족으로 변화하는 과정을 담고 있는 이야기적 특질을 의미한다. 그러한 미숙하고 불완전한 존재가 변화하게 되는 계기와 과정, 그리고 그 결과로 구조화된 유형적 특질을 갖고 있는 소설 양식이 성장소설이라 할 수 있는 것이다. 이러한 구조화된 유형적 특질은 신화나 민담에서는 탐색담이나 여행담으로 나타난다. 게임에서의 성장은 캐릭터의 성장과 직결된다. 본격적으로 플레이어와 동일시되어 성장을 대리 경험적으로 체험하는 것은 D&D 온라인을 거쳐, 현재 MMORPG의 형태를 구현해낸 울티마 온라인이 이후부터이다. 세부적으로 구현된 세계와 온라인을 통해 생성된 방대한 네트워크 안에서 플레이어는 자신과 동일화된 캐릭터를 플레이하면서 대리경험을 하게 된다. 즉, 플레이어가 캐릭터의 성장에 작용하는 여러 가지 변수를 선택하고, 조작해가면서 자신만의 캐릭터를 생성해 나가면서, MMORPG가 구현하는 게임 세계에 구성원이자 일원이 되는 것이다. MORPG는 기존의 RPG의 선형적인 성장에 비해 복합적인 양상을 보여준다. 문화에서의 성장 서사에서 일반적으로 발견되는 여정형의 탐색담은 개발자 서사인 배경 스토리에서 나타나며, 레벨시스템과 이에 따른 공간의 배치에 따라 플레이어에게 직접적인 영향'을 끼친다. 영속적인 세계와 플레이어 간의 상호작용을 통해 일어나는 사용자 서사는 완결된 형태의 캐릭터를 무의미하게 만든다. 플레이어는 비선형적인 성장을 끊임없이 계속하게 되는 것이다.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.327-363
• /
• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• Cross-Cultural Studies
• /
• v.43
• /
• pp.207-239
• /
• 2016

The Altai Humanities Belt connecting Siberia to Central Asia is very important to the history of civilization. It had a huge influence on the formation of an ancient civilization in the Korean Peninsula. Therefore, a variety of studies have been carried out in the field of folklore and anthropology as well as archeology. One of these studies is about the oral epic. The oral epic remains in the form of a unique transmission in Korea, but it wasn't that long ago when it was noted as the component of the Altai Humanities Belt. In that context, some epics from Central Asia, Mongolia, and Siberia were introduced to Korea. This preliminary investigation is conducted to introduce the oral epic Olonkho from Yakutia in Siberia to Korean academia. Although it was revealed recently, Olonkho is highly valued. The epic study has been buried from the Western point of view, but Olonkho is expected to provide a global perspective to the field of epic study. Above all, it contains a very significant clue to a new study because the content and the style of performance are considerably different from those of the West. Additionally, the original form is relatively well preserved. In particular, it explains how human thinking and behaviors have changed in the transition from the mythical age to the heroic age. This change appears in the ethnic history of Yakutia, as well as in the formation process for all Altai countries around the 10th century. Therefore, this preliminary investigation will be a foundation to facilitate the translation of the voluminous Olonkho into Korean, and to conduct full-fledged research on it. In particular, it can motivate a study on the differences and similarities in comparison to the tradition of oral epics between Central Asia and the Korean Peninsula. Furthermore, it will serve as a foundation for the formation of the Altai Humanities Belt.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.315-347
• /
• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• Sim-seong Yeon-gu
• /
• v.32 no.2
• /
• pp.122-168
• /
• 2017

I tried to understand a folk tale "The half-boy" in terms of analytical psychology. In the story, a lady without children prayed to the Buddha. The white old man came and gave three fishes, but the cat ate half of it. So, she ate two and a half. She gave birth to two perfect sons. The third son had one arm, one leg, and one eye. They grew well. Brothers went to take the civil service examinations, and the half-boy followed. But two brothers did not like the half-boy coming along. So, brothers tied the half-boy to the rocks and trees, and he picked them up with force and gave them down to the yard of the house. And the half-boy followed his brothers again, and brothers tied him with kudzu and put him in front of the tiger. The half-boy won the tiger by betting with cutting kudzu. The half-boy stripped off the tiger's skin. The host coveted the tiger skin and they played with janggi. The half-boy won the game and was permitted to take host's daughter. The half-boy went with a string, a drum, a flea, and a bedbug. He teased host's people with these. The half-boy brought a virgin and lived well. "The Half-Boy" folktale is an old story spread throughout the country. There are similar stories in India and Africa. Unilateral figures are universally distributed archetypal images. In numerous cultures gods and spirits are being portrayed as unilateral figures. In the creation mythology, half-figure beings have immortality. In Indonesian and African folk tales, the half-born boy goes to heaven and merges with its half and becomes perfect. Some of one-sided spirits are harmful to humans but some of one-sided birds, chickens, and spirits are helpful to people. Sometimes half being is a cultural hero who steals grain from heaven or gets some advice how to use bamboo. There are stories that half body becomes a whole body afterwards. But in this folktale and most of the similar folktales, half-figure does not change and maintains half-figure to the end. And as a half-figure he does various great things and marries a virgin. The half-boy symbolizes a psychic experience born in the unconscious. The unconscious contents may seem strange and weird at first and the collective consciousness does not want to accept them. But the unconscious exerts greater power and brings vitality and creativity to consciousness. This folk tale seems to have compensated for the stubborn collective consciousness of our society, which was a Confucian class society. It also allows people to change their attitude toward disabled people and recognize strengths and creativity of the handicapped.