• 정보관리학회지
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• 제39권3호
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• pp.99-132
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• 2022

본 연구의 목적은 LDA 토픽모델링 결과와 BERTopic 토픽모델링 결과를 합성하는 방법론인 Augmented and Extended Topics(AET)를 제안하고, 이를 사용해 문헌정보학 분야의 연구주제를 분석하는 데 있다. AET의 실제 적용결과를 확인하기 위해 2001년 1월부터 2021년 10월까지의 Web of Science 내 문헌정보학 학술지 85종에 게재된 학술논문 서지 데이터 55,442건을 분석하였다. AET는 서로 다른 토픽모델링 결과의 관계를 WORD2VEC 기반 코사인 유사도 매트릭스로 구축하고, 매트릭스 내 의미적 관계가 유효한 범위 내에서 매트릭스 재정렬 및 분할 과정을 반복해 증강토픽(Augmented Topics, 이하 AT)을 추출한 뒤, 나머지 영역에서 코사인 유사도 평균값 순위와 BERTopic 토픽 규모 순위에 대한 조화평균을 통해 확장토픽(Extended Topics, 이하 ET)을 결정한다. 최적 표준으로 도출된 LDA 토픽모델링 결과와 AET 결과를 비교한 결과, AT는 LDA 토픽모델링 토픽을 한층 더 구체화하고 세분화하였으며 ET는 유효한 토픽을 발견하였다. AT(Augmented Topics)의 성능은 LDA 이상이었으며 ET(Extended Topics)는 일부 경우를 제외하고 대부분 LDA와 유사한 수준의 성능을 나타내었다.

• Journal of Microbiology and Biotechnology
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• 제33권8호
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• pp.1023-1029
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• 2023

Biosurfactants reduce surface and interfacial tension due to their amphiphilic properties and are an eco-friendly alternative for chemical surfactants. In this study, a new yeast strain JAF-11 that produces a biosurfactant was selected using drop collapse method, and the properties of the extracts were investigated. The nucleotide sequences of the strain were compared with closely related strains and identified based on the D1/D2 domain of the large subunit ribosomal DNA (LSU) and internal transcribed spacer (ITS) regions. Neodothiora populina CPC 39399^T, the closest species with strain JAF-11, showed a sequence similarity of 97.75% for LSU and 94.27% for ITS, respectively. The result suggests that the strain JAF-11 represents a distinct species that cannot be assigned to any existing genus or species in the family Dothideaceae. Strain JAF-11 produced a biosurfactant reducing the surface tension of water from 72 mN/m to 34.5 mN/m on the sixth day of culture and the result of measuring the critical micelle concentration (CMC) by extracting the crude biosurfactant was found to be 24 mg/l. The molecular weight 502 of the purified biosurfactant was confirmed by measuring the fast atom bombardment mass spectrum. The chemical structure was analyzed by measuring ¹H nuclear magnetic resonance (NMR), ¹³C NMR, and two-dimensional NMRs of the compound. The molecular formula was C₂₆H₄₆O₉, and it was composed of one octanoyl group and two hexanoyl groups to myo-inositol moiety. The new biosurfactant is the first report of a compound produced by a new yeast strain, JAF-11.

• 한국연극학
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• 제40호
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• pp.163-206
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• 2010

Um die Jahrhundertwende des 20. Jahrhunderts besinnt sich Theater als ein Kunstwerk auf seine eigene $Realit{\ddot{a}}t$, $K{\ddot{o}}rper$, Raum und Zeit. Die Existenzweise des Theaterkunstwerks ist $Auff{\ddot{u}}hrung$. Die Kennzeichen der $Auff{\ddot{u}}hrung$ ist Transitorik, Unmittelbarkeit und Ereignishaftigkeit. $Auff{\ddot{u}}hrungsanalyse$ der Theaterwissenschaft als Disziplin wird lange Zeit $vernachl{\ddot{a}}ssigt$, weil $Auff{\ddot{u}}hrung$ ein Opfer der Zeit ist. Angesichts der $Auf{\ddot{u}}hrungsanalyse$ $mu{\ss}$ man eine Invariante zur $Verf{\ddot{u}}gung$ stellen, um einen Gegenstand zu analysieren. Die Inszenierung als ${\ddot{a}}sthetischer$ Gegenstand ist einmalig und unwiederbringlich. Das $B{\ddot{u}}hnengeschehen$ ist materielle $Realit{\ddot{a}}t$, die von dem Zuschauer sinnlich - optisch und akustisch - erfahren wird. Die Inszenierung realisiert sich in 'drei $B{\ddot{u}}hnengestalten$': 'Intendierte $B{\ddot{u}}hnengestalt$', 'realen $B{\ddot{u}}hnengestalt$' und 'vermeinte $B{\ddot{u}}hnengestalt$'. Die $Auff{\ddot{u}}hrung$ konkretisiert sich im Kopf des Zuschauers nicht als eine reale $B{\ddot{u}}hnengestalt$, sondern als ein '${\ddot{a}}sthetisches$ Objekt', 'als Abdruck der $B{\ddot{u}}hnenvorg{\ddot{a}}nge$'. Der Platz des $Auff{\ddot{u}}hrungsanalytikers$ ist der des Zuschauers, des Rezipienten. Die ${\ddot{a}}sthetische$ $B{\ddot{u}}hnengestalt$ ist eine Rekonstruktion der selektiven wahrgenommenden $Auff{\ddot{u}}hrung$, die der 'realen $B{\ddot{u}}hnengestalt$' ${\ddot{a}}hnelt$. Diese Rekonstruktion als neue $Sch{\ddot{o}}pfung$ des Rezipienten ist "Simulacrum", das der dem Objekt $hinzugef{\ddot{u}}gte$ Intellekt ist. Der Begriff der $Auff{\ddot{u}}hrungsanalyse$ wird Synonym $f{\ddot{u}}r$ die Interpretation als hermeneutischer $Proze{\ss}$. $F{\ddot{u}}r$ die Methode der $Auff{\ddot{u}}hrungsanalyse$ gibt es Strukturanalyse und Transformationsanalyse. Strukturanalyse geht $ausschlie{\ss}lich$ von der $Auff{\ddot{u}}hrung$ aus. Transformationsanalyse geht von der Transformation des Textes aus. $F{\ddot{u}}r$ diese Arbeit steht dramaturgische Analyse von Shakespeares Romeo und Julia als erste Grundlage. Die Handlungsentwicklung von Romeo und Julia ist klar in '$f{\ddot{u}}nf$ Akte' eingeteilt, die insgesamt aus 24 Szenen bestehen. Die Gesamthandlung von Romeo und Julia baut sich $pyramidenf{\ddot{o}}rmig$ nach dem Schema der steigenden und fallenden Handlung auf: Exposition/ Ausgangssituation (bis zur ersten Begegnung des Liebespaares auf dem Fest), erregendes Moment als Steigerung (von der Verliebtheit bis zur $Eheschlie{\ss}ung$), Wendepunkt/ Peripetie (Mercutios Tod), retardierendes Moment (Julias Scheintod) und Katastrophe (Vereinigung im Grabe). Die Handlung des $St{\ddot{u}}ckes$ gliedert sich in eine Haupt- und eine Nebenhandlung: dominierend ist die Liebeshandlung zwischen Romeo und Julia, daneben steht die Entwicklung der Fehde zwischen den Familien von Montague und Capulet; sie sind 'sich gegenseitig bedingend, steigernd, hemmend und vernichtend'. Parallelisierung und Kontrast der Figurenkonstellation werden in den jeweils sozial oder im Alter entsprechenden Figuren aus den beiden verfeindeten Familien gezeigt. Die Thematik des $St{\ddot{u}}ckes$ kommt in dem Oxymoron "loving hate" (I.1.175) zum Ausdruck. Shakespeare $l{\ddot{a}}sst$ die Liebeshandlung von Romeo und Julia in der Art der de casibus-$Trag{\ddot{o}}die$ spielen; deren Handlungsmuster ist 'dargestellt im Rad der Fortuna, das einen Menschen $emportr{\ddot{a}}gt$ und wieder $abst{\ddot{u}}rzen$ $l{\ddot{a}}sst$'. Das $St{\ddot{u}}ck$ Romeo und Julia ist eine experimentelle $Trag{\ddot{o}}die$. Es beginnt als $Kom{\ddot{o}}die$ mit $Z{\ddot{u}}gen$ einer Romanze, die sich aus dem Motiv der privaten Liebe und Heirat entwickelt. Pater Lorenzo und die Amme treten mit Lorenzos Wissen von der magischen Kraft der $Kr{\ddot{a}}uter$ und der $Geschw{\ddot{a}}tzigkeit$ der Amme $h{\ddot{a}}ufig$ in der $Kom{\ddot{o}}die$ auf. Die Handlung von Romeo und Julia erreicht mit Mercutios Tod den Wendepunkt, der die komische Welt zur tragischen umwandelt. $F{\ddot{u}}r$ die Sprache gibt es Prosa der Diener wie die Alltagssprache der einfachen Leute und zugleich Verse der Adeligen. Shakespeare verwendet eine kontrastreiche Metaphorik $f{\ddot{u}}r$ Raum und Zeit. Dreimal geschehen am Tag die $K{\ddot{a}}mpfe$ der verfeindeten Familien auf den ${\ddot{o}}ffentlichen$ $Pl{\ddot{a}}tzen$. Der Tag wirft ein Licht auf den Hass und die Gewalt. Die Nacht aber ist die $Sph{\ddot{a}}re$ der Liebe, wo Romeo und Julia ihre heimliche Verbindung verborgen halten $k{\ddot{o}}nnen$. Die Liebenden treffen sich in der Nacht und in dem ummauerten Raum. Oh, Tae-Suks "Romeo und Julia" wird in der Form des Madangguks gestaltet. Die Handlung in Oh, Tae- Suks Textfassung ist also nicht nach dem Prinzip der $Kausalit{\ddot{a}}t$ und Folgerichtigkeit zu lesen wie im Shakespeare-Drama. Wegen dem Ignorieren der $Kausalit{\ddot{a}}t$ des Handlungsablaufes und dem Fehlen der Motivation der Handlung ergibt sich hier keine individuelle psychologische Figurencharakterisierung. Die Figuren sind typisiert. Die koreanische Textfassung mit den extremen textlichen $Verk{\ddot{u}}rzungen$ und den zwei szenischen $Hinzuf{\ddot{u}}gungen$ $pr{\ddot{a}}gt$ die Inszenierung dahingehend, dass an die Stelle der Wortsprache mehr $K{\ddot{o}}rpersprache$ und szenische Bilder treten. Die langen Sprechpartien der Figuren im Shakespeare-Drama werden meistens $gek{\ddot{u}}rzt$ und $beschr{\ddot{a}}nken$ sich entweder auf Informationen ${\ddot{u}}ber$ die Situation oder zur Handlungsentwicklung. Und der Handlungsablauf erfolgt in Episoden sowie Musik, Lied und Tanz; Musik, Lied und Tanz dienen einerseits dem ${\ddot{U}}bergang$ der Szenen, sind aber andererseits auch selbst Teil des Handlungsablaufs. $W{\ddot{a}}hrend$ Shakespeare die Sprache der $W{\ddot{o}}rter$ in den Vordergrund $r{\ddot{u}}ckt$, $st{\ddot{u}}tzt$ Oh, Tae-Suk sich mehr auf die Sprache des $K{\ddot{o}}rpers$, die ja zugleich bildhaft ist. $Daf{\ddot{u}}r$ nimmt die Inszenierung Tanz und Lieder. Oh, Tae-Suks Inszenierung entwirft Shakespeares $Trag{\ddot{o}}die$ in der Form des Madangguks als Spiel und zugleich als erkennentnisorientiertes, nachdenkliches Theater $f{\ddot{u}}r$ den koreanischen Zuschauer, das dem traditionellen koreanischen Theater als Unterhaltungstheater nicht $m{\ddot{o}}glich$ ist, in dem sich das Volk von der Wirklichkeit erleichterte und sich $vergn{\ddot{u}}gte$. Oh, Tae-Suk formt das Publikum zum 'Wir' und zugleich zum 'Ich'. Mit dem Zusammensein der $v{\ddot{o}}llig$ andernen Theaterkulturen schafft der Reigisseur das hybride Theater und dadurch bildet $f{\ddot{u}}r$ die moderne koreanische Gesellschaft eine neue kulturelle $Identit{\ddot{a}}t$ heraus.

• 자원환경지질
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• 제2권3호
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• pp.1-25
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• 1969

In considering the mining industry, it is necessary to study the production, consumption and price of ore and metals in every country of the world in order to determine the trend of the industry in the present and for the future. This study is necessary especially for exporting domestically produced are which is in excess of domestic consumption and for importing are, or metal where local production does not meet domestic demand. It will be treated of Au, Ag, Cu, Pb, Zn, W, Mo, which are the most important non-ferrous metals, and which greatly affect the mining industry of Korea. The presentation will concern itself only with the free world. About 1, 200 ton of gold are produced annually with little fluctiation in recent years. Most of the gold produced is consumed by advanced countries for industrial uses as well as for producing precious objects. The U.S.A. expends yearly about four times its domestic production and Japan about three times its domestic production for industry and arts. Because of the instability of the currency of the U.S.A., England and France, recently, the price of gold has been $ 41-42 per ounce, whereas the official price is $35.00 per ounce. It will be expected that the official price will be raised in the near future. As for silver, about 6,500 tons are produced annually with no special fluctuation change in recent years. However, the annual consumption is about 14,000 ton, so the supply and demand is extremely unbalanced. The shortage is made up by the sale of the U.S. treasury's reserve stock and the reclaiminig of silver from coins and other scrap. As the Treasury'S reserves will be exhausted in a year or two, the price of silver which is $1. 64 per ounce, will go up drastically in about a year. As for copper, 5,257,000 ton's were mined in 1966. It's production is being increased about 5% annually. However, consumption exceeds production by about 100,000 ton a year. The recent Foreign refinery copper price in the U.S.A is $ 60 per pound. The supply of copper being insufficient to meet international demands, the price will go up and with no prospect of being lowered in the near future even with the slight annual increase in production. About 2,100,000 to 2,200,000 tons of lead are produced annually. Consumption exceeds production by about 50,000-60,000 tons annually. The current price of lead in New York is $ 155 per pound. As the supply of lead is internationally stable, It will be believed that there will be no significant change in its price in the near future. In 1967, 3,926,000 tons of Zinc were produced. There is annual increase of 4-7% in production. The annual consumption exceeds production by 100,000 to 200,000 tons. The current zinc price in the St. Louis market inthe U.S.A. is $ 145 per pound. Even though its supply is stable and sufficient world wide, the consumption rate will increase at a faster pace than before; hence, the price will slowly go up. Tungsten mines yield about 11,000 tons a year. Its production has been relatively constant in the past few years. The amount of its consumption increases slowly world wide, but in the free world· there has been a slight annual decrease. However, since Red China has not been exporting their tungsten to other countries for several months, the price on the London market of S.T.U. of $Wo_3$ has increased to $ 44~46. Should Red China begin to export actively again the price will drop to $ 40~42. In 1967, 56,000 tons of Molybdenum were produced. Production exceeds consumption by 200,000 -30,000 tons annually. The current price in the U.S.A. is $ 1.72 per Mo pound. Since the rate of production in the U.S.A. is on the increase with large amounts of ore reserve, the price of molubdenum should not go up.

• 철학연구
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• 제114호
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• pp.177-212
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• 2016

칸트의 의지자유 개념은 매우 복잡하고 모호하다. 그 이유는 "실천 이성비판"의 목적이 순수실천이성의 존재를 밝히려 하는데 있듯이 칸트의 자유 개념이 강제로부터의 자유에 중점이 놓여있고, 필연으로부터의 자유에 해서는 애매한 태도를 취하다가 결국 이를 부정하기 때문이다. 이에 해 라이프니츠의 자유개념은 인간의 의지는 정념의 강제로부터 뿐만 아니라 필연으로부터도 자유이다라고 말하듯이 필연으로부터의 자유를 강조한다. 라이프니츠와 칸트의 자유이론의 구조는 많이 다르지만 자유와 필연의 조화가능성을 논하는 성격론은 매우 유사하다. 그리고 라이프니츠의 자유개념은 매우 명료하다. 따라서 본 논문에서는 라이프니츠와 칸트의 자유개념을 비교함으로써 칸트에게서도 강제로 부터의 자유뿐만 아니라 필연으로부터의 자유도 가능함을 밝히고자 한다. 라이프니츠는 처음부터 합리주의자들이 모두 인정하는 정념의 강제로부터의 자유와 스피노자가 부정하는 필연으로부터의 자유 등 두 서로 다른 개념을 전제하고 출발한다. 그러나 칸트는 자유를 자연법칙으로부터의 독립성으로 규정함으로서 이 개념은 처음부터 모호한 개념이 된다. 칸트는 처음에는 이 개념의 이의성을 의식하지 못하고 혼용하여 사용하다가 "이성의 한계 안에서의 종교"의 재판에 서 의지자유의 두 가지 개념이 서로 다름을 인식하게 되고 "도덕형이상학" 법론에서는 선택의 자유를 부정한다. 그러나 "순수이성비판"과 "실천이성비판"에서 자유와 필연의 조화가능성을 논하는 부분을 보면 칸트도 라이프니츠와 함께 인간의 예지적 성격이 자유로운 선택을 반복함으로써 형성되는 것이라고 생각하기 때문에 선택의 자유를 인정하고 있음을 알 수 있다. 칸트가 선택의 자유를 부정하는 이유는 자유의 개념이 하나의 통일적인 개념으로 규정되어야 한다고 생각하기 때문이다. 그러나 자유개념은 하나로 규정되어야 할 필요가 없고, 강제로부터의 자유와 필연으로부터의 자유는 서로 모순되는 개념이 아니므로 이들은 동일한 의지에 동시에 부여할 수 있다. 그리고 이럴 때만이 자율도 가능하게 되는 것이다.