• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.65-75
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• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• Journal of the Korean earth science society
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• v.28 no.1
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• pp.64-74
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• 2007

The marine seismic prospecting using a research vessel in the shallow sea near the coastal area has certain limits according to the water depth and survey environment. Also, for the electrical resistivity survey at seashore area, one may need a specially designed high-voltage source to penetrate the very conductive surface layer. Therefore, we have conducted a feasibility study on the application of magnetotelluric method (MT), a passive geophysical method, on investigating of shallow marine environment geology. Our study involves both theoretical modeling and field survey at the tidal flat area which represent the very shallow marine environment. We have applied the audio-frequency magnetotelluric (AMT) method to the intertidal deposits of Gunhung Bay, west coast of Korea, and analysed the field data both qualitatively and quantitatively to investigate the morphology and sedimentary stratigraphy of the tidal flat. The inversion of AMT data well reveals the upper sedimentary layer of Holocene intertidal sediments having a range of 13-20 m thickness and the erosional patterns at the unconformable contact boundary. However, the AMT inversion results tend to overestimate the depth of basement (30-50 m) when compared with the seismic section (27-33 m). Since MT responses are not significantly sensitive to the resistivity of middle layer or the depth of basement, the AMT inversion result for basement may have to be adjusted using the comparison with other geophysical information like seismic section or logging data if possible. But, the AMT method can be an effective alternative choice for investigating the seashore area to get important basic informations such as the depositional environment of the tidal flat, sea-water intrusion and the basement structure near the sea shore.

• Journal of Korean Philosophical Society
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• no.123
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• pp.137-185
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• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• (The)Study of the Eastern Classic
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• no.56
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• pp.35-73
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• 2014

This paper examined the poem world of Simjae(深齋) Cho Geung-seop(曺兢燮: 1873-1933) in the turning point of the modern era, focused on his Hwaunsi (和韻詩: Poems written by using the rhymes of other poets' poems). In his poems, there are lots of Hwaunsi on the poems of Tu Fu(杜甫) and Su Shi(蘇軾), especially. This makes him regarded as a medieval poet, engaged in Chinese poem creation in the most traditional method in the turbulent period. Looking at the Hawunsi(和韻詩) alone, Simjae's creative life became the starting point of turnaround at around 40 years old. Before the age of 40, the poets in the Tang Dynasty and Song Dynasty and Ming Dynasty and Qing Dynasty and Korean figures like Lee Hwang(李滉), as well as Tu Fu and Su Shi were the subjects of his Hwanunsi. After the age of 40, some examples of writing poems using the rhymes of other poets' poems, especially Korean figures related to regions, are often found, reducing Hwaunsi on Tu Fu and Su Shi. Simjae called Tu Fu the integration of poets, talking about the integrity of poetic talent and his being highly proficient in mood and view. As reflecting such an awareness, the themes and moods and views are demonstrated diversely in Simjae's Hwaunsi. Although, he did not reveal his thinking about the poems of Su Shi, he seemed to love Su Shi's poems to some degree. The closeness to the original poems, the poems of Tu Fu are relatively higher than those of Su Shi. Roughly speaking, Simjae tried to find his own individuality, intending to follow Tu Fu, but, he seemed to attempt to reveal his intention using Su Shi's poems, rather than trying to imitate. To carefully examine, Simjae wrote Hwaunsi, but he did not just imitate, but revealed the aesthetics of comparison and difference. In many cases, he made new meanings by implanting his intentions in the poems, while sharing the opportunity of creation, rather than bringing the theme and mood and view as they are. The Hwaunsi on Su Shi's poems reveal the closeness to the original poems relatively less. This can be the trace of an effort to make his own theme and individuality, not being dominated by the Hwaun(和韻: using the rhymes of other poets' poems) entirely, as he used the creative method having many restrictions. However, it is noted that the Hwaunsi on Tu Fu's poems was not written much, after the age of 40. Is this the reason why he realized literary reality that he could not cope with anymore with only his effort within the Hwaunsi? For example, he wrote four poems by borrowing Su Shi's Okjungsi(獄中詩: poem written in jail) rhymes and also wrote Gujung Japje(拘中雜題), in 1919, while he was detained. In these poems, his complex contemplation and emotion, not restricted by any poet's rhymes, are revealed diversely. Simjae's Hwaunsi testifies the reality, in which Chinese poetry's habitus existed and the impressive existence mode at the turning point of the modern era. Although, the creation of Hwaunsi reflects his disposition of liking the old things, it is judged that his psychology, resisting modern characters' change, affected to some degree in the hidden side. In this regard, Simaje's Hwaunsi encounters limitation on its own, however, it has significance in that some hidden facts were revealed in the modern Chinese poetry history, which was captured with attention under the name of novelty, eccentricity and modernity.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2009.06a
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• pp.29-29
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• 2009

현재 고집적 비휘발성 메모리 소자로는 MRAM (Magnetic Random Access Memory)과 PRAM (Phase Magnetic Random Access Memory)이 활발하게 미국과 일본, 한국 등에서 다양한 연구가 진행되어 오고 있다. 이 중에서 MRAM은 DRAM과 비슷한 10 ns의 빠른 읽기/쓰기 속도와 비휘발성 특성을 가지고 있으며, 전하를 저장할 커패시터가 필요 없고, 두 개의 자성충에 약 10 mA 정도의 전류를 가하면 그때 발생하는 약 10 Oe의 자장을 개개의 비트를 write하고, read 시에는 각 비트의 자기저항을 측정함으로써 데이터를 저장하고 읽을 있으므로, 고집적화가 가능성하다 [1]. 현재 우수한 박막 재료가 개발 되었으나, 고집적 MRAM 소자의 양산에는 해결 하여야 하는 문제점이 있다. 특히 다층 박막으로 구성되어 있으므로 식각 공정의 개발이 필수적이다. 지금까지 MRAM 재료의 식각은 주로 Ion milling, ICP, ECR등의 플라즈마 장치를 되었고, 식각 가스로는 할로겐 기체와 금속카보닐 형성을 위한 Co/$NH_3$와 $Ch_3OH$ 기체가 이용되고 있다. 그러나 할로겐 계열의 기체를 사용할 경우, 식각 부산물들의 높은 끓는점 때문에 식각 부산물이 박막의 표면에서 열적 탈착에 의하여 제거되지 않기 때문에 높은 에너지를 가지는 이온의 도움에 의한 식각이 필요하다. 또한 Cl 계열의 기체를 사용할 경우, 식각 공정 후, 시료가 대기에 노출되면 대기 중의 수분과 식각 부산물이 결합하여 부식 현상이 발생하게 된다. 그러므로 이를 방지하기 위한 추가 공정이 요구된다. 최근에는 부식 현상이 없고, MTJ 상부에 사용되는 Ta 또는 Ti Hard mask와의 높은 선택비를 가지는 $CH_3OH$ 또는 CO/$NH_3$가 사용되고 있다. 하부 박막에 따른 식각 특성에 연구와 다층의 박막의 식각 공정에 발생에 관한 발표는 거의 없다. MRAM을 양산에 적용하기 위하여서는 Main etch 공정에서 빠른 식각 공정이 필요하고, Over etch 공정에서 하부박막에 대한 높은 선택비가 요구된다. 그러므로 본 논문에서는 식각 변수에 따른 플라즈마 측정과 표면 반응을 비교하여 각 공정의 식각 메커니즘을 규명하고, Main Etch 공정에서는 $Cl_2$/Ar 또는 $BCl_3$/Ar 가스를 이용하여 식각 실험을 수행하고, Over etch 공정에는 낮은 Ta 박막 식각 속도를 가지는 $Ch_4/O_2$/Ar 또는 $Ch_3OH$/Ar 가스를 이용하고자 한다. 플라즈마 내의 식각종과 Ta 박막과의 반응을 XPS와 AES를 이용하여 분석하고, 식각 공정 변수에 따른 식각 속도, 식각 선택비와 식각 프로파일 변화를 SEM을 이용하여 관찰한다.

• Journal of the Korean Society for Nondestructive Testing
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• v.22 no.3
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• pp.275-283
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• 2002

To detect the position and depth of buried underground utilities, method of Ground Penetrating Radar(GPR) survey is the most commonly used. However, the skin-depth of GPR is very shallow, and in the places where subsurface materials are not homogeneous and are compose of clays and/or salts and gravels, GPR method has limitations in application and interpretation. The aim of this study is to overcome these limitations of GPR survey. For this purpose the site where the GPR survey is unsuccessful to detect the underground big pipes is selected, and soil tests were conducted to confirm the reason why GPR method was not applicable. Non-destructive high-frequency electromagnetic (HFEM) survey was newly developed and was applied in the study area to prove the effectiveness of this new technique. The frequency ranges $2kHz{\sim}4MHz$ and the skin depth is about 30m. The HFEM measures the electric field and magnetic field perpendicular to each other to get the impedance from which vertical electric resistivity distribution at the measured point can be deduced. By adopting the capacitive coupled electrodes, it can make the measuring time shorter, and can be applied to the places covered by asphalt an and/or concrete. In addition to the above mentioned advantages, noise due to high-voltage power line is much reduced by stacking the signals. As a result, the HFEM was successful in detecting the buried underground objects. Therefore this method is a promising new technique that can be applied in the lots of fields, such as geotechnical and archaeological surveys.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.37 no.6
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• pp.43-49
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• 2000

The TiN thin films were deposited by ALE(atomic layer epitaxy) on (100) silicon substrate. The TiN thin films were characterized by means of XRD, 4-point probe, AFM, AES and SEM. TEMAT(terakis(ethyl methy lamino)titanium) and $NH_3$ were injected into the reactor in sequence of TEMAT-$N_2-NH_3-N_2$ to ensure a saturated surface reaction. As a result, the depostion rate of the TiN film was controlled by self-limiting growth mechanism at temperature range form 150 to 220 $^{\circ}C$. Deposited TiN films, all of which show amorphous structure, had a fixed deposition rate of 4.5 ${\AA}$/cycle. The resistivity of 210 ~ 230 ${\mu}{\Omega}{\cdot}$cm and the surface r.m.s. roughness of 7.9 ~ 9.3 ${\AA}$ were measured. When TiN film of 2000 ${\AA}$ were deposited, a excellent step coverage were observed in a trench structure of 0.43${\mu}m$ contacts with 6:1 aspect ratio.

• Korean Journal of Clinical Laboratory Science
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• v.52 no.3
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• pp.278-283
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• 2020

Central sleep apnea (CSA) is characterized by respiratory failure of at least 10 seconds without any effort of the chest and abdomen in the absence of upper airway resistance during sleep. In this case, the patient experiences respiratory failure that does not meet the CSA diagnostic criteria and CSA symptoms. Magnetic resonance imaging diffusion-weighted imaging (MRI DWI) scans revealed a lateral medullary infarction. Continuous positive airway pressure (CPAP) was applied as a primary treatment for CSA and respiratory failure. During the titration of CPAP, the apnea-hypopnea index (AHI) and arousal index (AI) were worse than the results before its use (AHI: 42.5/hr→82.8/hr, AI: 21.7/hr→40.8h). As a result, adaptive servo-ventilation (ASV) was chosen as the secondary treatment. Compared to the night-polysomnography results before the ASV treatment, the AHI improved (42.5/hr→8.6/hr). Therefore, ASV is a potential treatment for CSA and respiratory failure in these patients.