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Groundwater evaluation in the Bokha watershed of the Namhan River using SWAT-MODFLOW (SWAT-MODFLOW를 활용한 남한강 복하천유역의 지하수 모의 평가)

  • Han, Daeyoung;Lee, Jiwan;Jang, Wonjin;Kim, Seongjoon
    • Journal of Korea Water Resources Association
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    • v.53 no.11
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    • pp.985-997
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    • 2020
  • SWAT (Soil and Water Assessment Tool)-MODFLOW (Modular Groundwater Flow) is a coupled model that linking semi-distributed watershed hydrology with fully-distributed groundwater behavior. In this study, the groundwater simulation results of SWAT and SWAT-MODFLOW were compared for Bokhacheon watershed in Namhan river basin. The models were calibrated and validated with 9 years (2009~2017) daily streamflow (Q) data of Heungcheon (HC) water level gauge station and the daily groundwater level observation data of Yulheon (YH). For SWAT, the groundwater parameters of GW_DELAY, GWQMN, and ALPHA_BF affecting baseflow and recession phase were treated. The SWAT results showed the coefficient of determination (R2) of 0.7 and Nash-Sutcliffe model efficiencies (NESQ, NSEinQ) for Q and 1/Q with 0.73 and -0.1 respectively. For SWAT-MODFLOW, the spatio-temporal aquifer hydraulic conductivity (K, m/day), specific storage (Ss, 1/m), and specific yield (Sy) were applied. The SWAT-MODFLOW showed R2, NSEQ, and NSEinQ of 0.69, 0.74, and 0.51 respectively. The SWAT-MODFLOW considerably enhanced the low flow simulation with the help of aquifer physical information. The total streamflow of SWAT and SWAT-MODFLOW were 718.6 mm and 854.9 mm occupying baseflow of 342.9 mm and 423.5 mm respectively.

Nietzsche in the Square of Carlos Alberto (카를로스 알베르토 광장의 니체)

  • Lee, Wang-joo
    • Journal of Korean Philosophical Society
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    • v.142
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    • pp.221-241
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    • 2017
  • I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

Texture Characteristics of Seokibyung as affected by ingredients (석이병의 재료배합비에 따른 Texture특성)

  • 황미경;이효지
    • Korean journal of food and cookery science
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    • v.9 no.3
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    • pp.198-203
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    • 1993
  • The objective of this study was to evaluate the effect the Seokibyung, when the ingrdients were changed in a variety aspects ; the amount of Seoki flour to rice flour, and several kinds of sweeteners such as sugar, honey and syrup and condition of water. The evaluation of these result were as followings ; 1. According to sensory evaluation, the, flavor, grain, softness, moistness, chewiness, sweetness, overalquality of Seokibyung were the most excellent the mixture of 60g sugar, 280g rice flour, 70g glutious rice flour and 10.5g seoki flour mixed in 90$m\ell$ boiled water. 2. According to Instron evaluation that the higer level resulted to the left to the right treatment that Hardness : syrup, honey, sugar Cohesiveness : honey, syrup, sugar, Adhesiveness : syrup, honey, sugar Gumminess : honey, syrup, sugar Springness : honey, sugar, syrup, Chewiness : honey, syrup, sugar. there was no significant difference among the three treatment groups in each experimental group. 3. The Color & color difference evaluation_that Overall color difference was sugar, honey, syrup in turn. 4. percentages of moisture of honey-added, sugar-added and syrup-added Seokibyung were 42.49%, 41.45% and 36.73% respectively.

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H2AX Directly Interacts with BRCA1 and BARD1 via its NLS and BRCT Domain Respectively in vitro (H2AX의 BRCA1 NLS domain과 BARD1 BRCT domain 각각과의 in vitro 상호 결합)

  • Bae, Seung-Hee;Lee, Sun-Mi;Kim, Su-Mi;Choe, Tae-Boo;Kim, Cha-Soon;Seong, Ki-Moon;Jin, Young-Woo;An, Sung-Kwan
    • KSBB Journal
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    • v.24 no.4
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    • pp.403-409
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    • 2009
  • H2AX, a crucial component of chromatin, is implicated in DNA repair, cell cycle check point and tumor suppression. The aim of this study was to identify direct binding partners of H2AX to regulate cellular responses to above mechanisms. Literature reviews and bioinformatical tools were attempted intensively to find binding partners of H2AX, which resulted in identifying two potential proteins, breast cancer-1 (BRCA1) and BRCA1-associated RING domain 1 (BARD1). Although it has been reported in vivo that BRCA1 co-localizes with H2AX at the site of DNA damage, their biochemical mechanism for H2AX were however only known that the complex monoubiquitinates histone monomers, including unphosphorylated H2AX in vitro. Therefore, it is important to know whether the complex directly interacts with H2AX, and also which regions of these are specifically mediated for the interaction. Using in vitro GST pull-down assay, we present here that BRCA1 and BARD1 directly bind to H2AX. Moreover, through combinational approaches of domain analysis, fragment clonings and in vitro binding assay, we revealed molecular details of the BRCA1-H2AX and BARD1-H2AX complex. These data provide the potential evidence that each of the BRCA1 nuclear localization signal (NLS) and BARD1 BRCA1 C-terminal (BRCT) repeat domain is the novel mediator of H2AX recognition.

Immunohistochemical Study of NSE in Small Cell Lung Cancer (SCLC) Combined with Serum Assay (소세포폐암에서 Neuron Specific Enolase의 면역조직 화학염색과 혈청농도에 관한 연구)

  • Kwak, Seung-Min;Kim, Hyung-Jung;Shin, Dong-Hwan;Jang, Joong-Hyun;Lee, Hong-Lyeol;Kim, Se-Kyu;Ahn, Chul-Min;Kim, Sung-Kyu;Lee, Won-Young;Lee, Kyi-Beom
    • Tuberculosis and Respiratory Diseases
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    • v.39 no.6
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    • pp.502-510
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    • 1992
  • Background: Neuron specific enolase (NSE) is a neuronal form of the glycolytic enzyme enolase which was first found in extracts of brain tissue, and later in a variety of APUD cells and neurons of the diffuse endocrine system. SCLC shares many APUD properties with normal neuroendocrine cells. NSE immunostaining and serum NSE measurement may be a useful marker of neuroendocrine differentiation in lung tumors and diagnosis of small cell carcinoma. Methods: NSE immunohistochemical staining was done and at the same time serum NSE levels were measured in 22 small cell lung cancer and 21 non small cell lung cancer which were confirmed histologically. Results: 1) NSE immunoreactivity was detected in 9 of the 18 (50%) small cell lung cancer, in 5 of the 16 non small cell lung cancer. 2) Whereas the mean value in non-small cell lung cancer group was $11.79{\pm}4.47\;ng/ml$, the mean level of serum NSE in small cell lung cancer increased up to $59.3{\pm}77.8\;ng/ml$. In small cell lung cancer patients, mean value of limited disease group was $20.19{\pm}12.91\;ng/ml$, while mean value of extended disease group was $91.9{\pm}94.2\;ng/ml$ showing statistically significant difference. If serum levels above 20 ng/ml were tentatively defined as positive, 16 of 22 (73%) patients with SCLC had positive serum NSE level, but only one patient with NSCLC did. There was no correlation between serum NSE level and immunoreactivity of NSE. Conclusion: These studies indicate that serum NSE measurement may be a useful marker for the diagnosis and disease extent and NSE immunostaining can be used to demonstrate the neuroendocrine components of lung tumor.

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Decomposition Characteristics of Non-Degradable Liquid Waste under High Temperature and High Pressure Conditions (고온 고압 조건에서의 난분해성 액상폐기물 분해 특성)

  • Lee, Gang-Woo;Shon, Byung-Hyun
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.8 no.6
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    • pp.1572-1578
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    • 2007
  • The specified wastes consist of waste acid, waste alkali, waste oil, waste organic solvent, waste resin, dust, sludge, infectious waste, and others. Among these specified wastes, a great portion is liquid phase wastes. The purpose of this study is to develop the high temperature and high pressure (HTHP) treatment system for decomposition of the liquid phase specified waste (LPSW). For this, we analyzed the physical and chemical properties of the LPSW such as density, proximate analysis, ultimate analysis, heating values, and designed 0.3 ton/day HTHP treatment system. The LPSW tested in this experiment were prepared by adding TCE(trichloroethylene) and toluene to liquid phase waste which was brought into the commercial waste treatment company. The average density of waste oil (25 samples), waste resin (5 samples), and waste solvent (12 samples) was 0.99 g/mL, 0.91 g/mL, and 0.93 g/mL, respectively. And the average lower heating value of waste oil, waste resin, and waste solvent was 8,294 kcal/kg, 5,809 kcal/kg, and 7,462 kcal/kg, respectively. The DRE (Destruction & Removal Efficiency) of TCE and toluene were 99.95% and 99.73% at atmospheric pressure conditions and that were 99.99% and 99.82% at pressurized conditions, respectively. These results showed that TCE/toluene mixtures were properly decomposed over about 99.73% of DRE by the HTHP treatment system and pressurized conditions were more effective to destroy those pollutants than atmospheric pressure conditions. Also these systems could be directly applied to industries which try to treat the liquid phase specified waste within the regulation limit.

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Nouvelle Dramaturgie et limites du Théâtre postmoderne à travers les pièces de Michel Vinaver (포스트모던 연극의 새로운 극작술과 그 한계 : 미셀 비나베르(Michel Vinaver)의 작품을 중심으로)

  • Ha, Hyung-Ju
    • Journal of Korean Theatre Studies Association
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    • no.53
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    • pp.203-233
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    • 2014
  • Depuis les $ann{\acute{e}}es$ 1990, sous l'influence de la $pens{\acute{e}}e$ postmoderne, des ${\oe}uvres$ $d{\acute{e}}constructivistes$ ont fait leur apparition dans le $th{\acute{e}}{\hat{a}}tre$ $cor{\acute{e}}en$. Cependant, cette approche est plus remarquable dans le domaine du $th{\acute{e}}{\hat{a}}tre$ pratique que dans celui de $l^{\prime}{\acute{e}}criture$ dramatique. Par exemple, ce mouvement a $commenc{\acute{e}}$ avec les metteurs en $sc{\grave{e}}ne$ OH Tae-suk et GUI Gook-seo au $d{\acute{e}}but$ des $ann{\acute{e}}es$ 1990. Leur ont $succ{\acute{e}}d{\acute{e}}$ ensuite les metteurs en $sc{\grave{e}}ne$ CHOI Yong-hoon, de la troupe de $th{\acute{e}}{\hat{a}}tre$ Chak Eun Shin Hwa, et PARK Kun-hyung. De plus, actuellement, de jeunes metteurs en $sc{\grave{e}}ne$ travaillent avec $perspicacit{\acute{e}}$, tels que KO Sung-woong, KANG Lyang-won et YOUN Han-sol. A $l^{\prime}oppos{\acute{e}}$ de ce $th{\acute{e}}{\hat{a}}tre$ pratique, $l^{\prime}{\acute{e}}criture$ dramatique des $pi{\grave{e}}ces$ de $th{\acute{e}}{\hat{a}}tre$ demeure au niveau de $l^{\prime}{\acute{e}}criture$ $repr{\acute{e}}sentative$ et est encore sans grande valeur. Pour $r{\acute{e}}fl{\acute{e}}chir$ ${\grave{a}}$ ce $probl{\grave{e}}me$, nous $consid{\acute{e}}rerons$ les $pi{\grave{e}}ces$ de Michel Vinaver dont la dramaturgie oppose $l^{\prime}{\acute{e}}criture$ $d{\acute{e}}constructiviste$ au principe $repr{\acute{e}}sentatif$ et ${\grave{a}}$ $l^{\prime}{\acute{e}}criture$ traditionnelle en ${\acute{e}}chappant$ au principe de $causalit{\acute{e}}$. Avec sa $strat{\acute{e}}gie$ de montage $sp{\acute{e}}cifique$, il $proc{\grave{e}}de$ avec une ${\acute{e}}criture$ $fragment{\acute{e}}e$ tout en $ins{\acute{e}}rant$ des dialogues $h{\acute{e}}t{\acute{e}}rog{\grave{e}}nes$. Il trouve ainsi le silence des mots, un $pr{\acute{e}}sent$ sensible, la $mat{\acute{e}}rialit{\acute{e}}$ des mots et des images ostensives ${\grave{a}}$ travers des dialogues $juxtapos{\acute{e}}s$, une $simultan{\acute{e}}it{\acute{e}}$ et une $discontinuit{\acute{e}}$ du dialogue. En examinant ses $pi{\grave{e}}ces$ de $th{\acute{e}}{\hat{a}}tre$, nous explorons cette nouvelle ${\acute{e}}criture$ qui $r{\acute{e}}siste$ au $r{\acute{e}}gime$ dramatique de la $repr{\acute{e}}sentation$. Toutefois, nous n'encenserons pas seulement cette ${\acute{e}}criture$ postmoderne. Plus $pr{\acute{e}}cis{\acute{e}}ment$, nous $rel{\grave{e}}verons$ ses limites, dans les circonstances $pr{\acute{e}}sentes$, en $r{\acute{e}}fl{\acute{e}}chissant$ aux limites du $th{\acute{e}}{\hat{a}}tre$ postmoderne depuis le $d{\acute{e}}but$ des $ann{\acute{e}}es$ 2000. Ce faisant, nous souhaitons $d{\acute{e}}finir$ de nouvelles $possibilit{\acute{e}}s$ $esth{\acute{e}}tiques$.