Pellicle is defined as a thin transparent film stretched over an aluminum (Al) frame that is glued on one side of a photomask. As semiconductor devices are pursuing higher levels of integration and higher resolution patterns, the cleaning of the Al flame surface is becoming a critical step because the contaminants on the Al flame can cause lithography exposure defects on the wafers. In order to remove these contaminants from the Al frame, a highly concentrated nitric acid (HNO3) solution is used. However, it is difficult to fully remove them, which results in an increase in the Al surface roughness. In this paper, the pellicle frame cleaning is investigated using various cleaning solutions. When the mixture of sulfuric acid (H2SO4), hydrofluoric acid (HF), hydrogen peroxide (H2O2), and deionized water with ultrasonic is used, a high cleaning efficiency is achieved without HNO3. Thus, this cleaning process is suitable for Al frame cleaning and it can also reduce the use of chemicals.

『친절하고 고요한 달』의 첫 번째 에세이인 『인간령』에서 예이츠는 『비전』으로 정리되는 그의 중심사상인 마스크의 이론을 가장 명확하게 정리해서 제시하고 있다. 이 에세이에서 예이츠는 마스크로 제시되는 서로 상반되는 이미지들의 갈등이 예술의 창작행위에 가장 중요한 에너지를 공급하며 이러한 대칭이 역설적으로 조화를 이룬다는 것을 주장하고 있다.

본 논문은 예이츠와 엘리엇의 관계를 자신들의 평가로 대비한다. 엘리 엇은 예이츠를 “우리 시대의 가장 위대한 시인”이라 평가 했고 예이츠는 엘리엇은 “시에 있어서 가장 혁명적인 사람”이라고 평가했다. 또한 엘리엇은 예이츠를 지적 우 수성은 물론 도덕적 우수성을 겸비한 작가이며 젊은 시인들이 예이츠를 존경심을 가 지고 배워야한다고 평가한다. 특히 예이츠의 표현기법상의 명료함, 정직성, 활력, 끊임 없는 소재의 개발 등을 높이 평가한다. 또한 예이츠의 대표적인 문학창작 이론 중에 하나인 마스크 이론은 작가의 객관적인 관점을 표현해 내기 위한 도구라는 점에서는 엘리엇의 몰개성이나 객관적 상관물이론과 유사하다고 볼 수 있다.

중기의 예이츠는 삶의 의미를 회복시키기 위해 삶에 초점을 맞춘 시론을 선택하고 있다. 그러나 이런 입장에도 불구하고 그는 초기와 마찬가지로 초월적인 세계를 마스크로 선택함으로써 중기시에는 마스크에 대한 동경과 이것의 결함을 제시하며 삶의 가치를 주장하는 목소리가 공존하고 있다. 삶과 마스크의 갈등은 때로 중기 마스크를 구체적으로 제시하기 위한 예술의 이미지와 삶의 갈등으로 드러난다. 그의 시적 목표를 충족시키지 못하는 불만족스러운 마스크로 인해 예술은 행복한 것이라는 마스크 이론이 함유하고 있는 예이츠의 주장이 훼손되고 있다. 중기의 마스크는 그의 중기 시론과 마스크 이론을 다 같이 훼손하며 삶과 마스크의 갈둥을 첨예하게 만들고 있다.

The mask-face interface design should consider the face shape to improve the half mask respirator's fit ratio. This study tried to design the mask-face interface using recent Korean face data. By using the data of 1536 men's 3D face scanning (Size Korea data), head clay mock-up was made and mask-face interface line was extracted from this head mock-up. Using this interface line, the half-mask prototype was made. According to the quantitative fitting test, the proposed mask was found to be well fitted (average fit-ratio > 100). The proposed method had two advantages. 1) The method could use massive head-related anthropometric data like Size Korea data. 2) The qualitative fit test (observation) could be conducted very quickly by fitting the prototype to the head mock-up. However, this method also had several limitations. 1) The head clay mock-up could be different according to the mock-up maker. 2) The average values of the head-related anthropometric data were used to make the head mock-up. Small and large size head mock-ups should be made and tested.

예이츠의 후기 작품은 니체의 아폴로와 디오니소스의 이중성이라는 관점에서 볼 때 보다 더 정확하게 이해될 수 있다. 아폴로의 가상은 개인의 삶을 창조하는 힘인데 이러한 생각은 예이츠의 마스크 개념에서 가장 잘 표현된다. 지속적으로 개인의 가상을 새롭게 창조하기 위해서는 아폴로적인 것은 가상을 산산이 부수는 디오니소스적인 힘이 필요하다. 디오니소스적이고 아폴로적인 비극의 개념은 예이츠의 비극적 삶과 예술에 대한 태도를 관통하는 주제이며 특히 “비극적 환희”에서 가장 강력하게 반영된다.

This study is an attempt to analyze Yeats’s early poetry in the light of his theory of the mask. For this purpose the writer of the present study has first proposed to define the ‘mask’ to investigate the theory and has reached the conclusion that the ‘mask’ is a Yeatsian term for an ideal image of life which is always opposite to the natural self or the natural world, and the theory of the mask has three aspects−aesthetic, moral, and philosophical−according to the role of the mask. The aesthetic meaning of the theory demonstrates Yeats’s argument on the nature, the source, and the touchstone of a work of art: art is the embodiment of the writer’s mask of life and his inner struggle between mask and life sets him to his creative work; the quality of a work depends upon the expression of this tragic war. And all the more important, Yeats’s strong belief in polarity of the two terms of conflict is clarified. The study of Yeats’s early poetry in terms of his theory of the mask has concluded that Yeats’s early mask is the very transcendent realm which Yeats’s early symbolism proposes to evoke and the main symbols used to express this ideal world are the images of Arcadian island across the sea, rose, the Irish mythic world and Maud Gonne; and the synthesis of Yeats's theory of the mask and symbolism in his early poetry causes some distortions in both his theory of the mask and symbolism. The nature of his transcendent world is conveyed not by the symbols but by the imperfect realities in spite of his strong belief that “divine essence” can only be evoked by the symbols; the nature of this ideal world has also been distorted: it is not the super reality lying beyond reality like Mallarme’s but only an ideal place where all the impurities and imperfections of the real world are removed or corrected. As for the theory of the mask, polarity, the most important basis of the theory, has been impaired: only the value and the love of the ideal world is emphasized, whereas those of the earthly life are restrained or its weaknesses and painfulness are stated to describe the ideal world.

W. B. Yeats in his whole life suffers from his introvert or passive self that hesitates to take action. In his agony, he creates his anti-self that boldly expresses his instinctive rage, and the anti-self is concretely established as a “fiery mask” in his poems. However, not oppressing the introvert and passive self completely, the fiery mask frequently conflicts and clashes with the passive self. Therefore, this paper explores how the fiery mask conflicts with the passive self in his “September 1913” and “Easter 1916,” and how in “Crazy Jane Talks with the Bishop,” the fiery mask overcomes such a discord represented in the two previous poems. In the first poem, the poet is indignant at political Irish nationalists who are unable to appreciate the true valuable arts. Attacking the political nationalists through the fiery mask, however the poet reveals his hidden self that hangs back from taking action. In the second poem, such hidden self under the fiery mask becomes undisguised, and the conflict between the fiery mask and the passive self is exacerbated and maximized. Such conflict is dissolved through a female mask, crazy Jane in the third poem. Usually, mad woman’s angry voice makes a strong impact on society even though she does not take a proper act from asocial responsibility of her rage such as revenge. Therefore, the fiery mask of crazy Jane makes the poet escape from his duty to take action resulting in the solution of the conflict between the fiery mask and the passive self. Ironically, Yeats’s ideal anti-self is completed in the mad female mask, crazy Jane, not in the courageous male mask.

This paper is an attempt to discuss Yeats' meditative poem and its formative process. Before taking up the main subject, I will survey the background of the meditative poem. The most notable of meditative practices were the Ignation meditations that synthesized several medieval branches of meditation and gave them new echo in the early modern world. These meditation then formed the structural backbone of poems that also demanded a similar type of ordered contemplation by Donne, Herbert, Hopkins and Wordsworth. Also Yeats clearly fits into this English meditative tradition due to the Irish and mystical elements but works with meditative techniques in a quite novel manner. The techniques of meditation become significant for their impact on how a poem works to trace the mind's progress. Yeats's poems, especially his mature poems, develop many of the imageable patterns and employ similar technique. There is a close correspondence between meditative discipline and the creative imagination. If we cannot imagination ourselves as different from what we are and assume that second self, we cannot impose a discipline upon ourselves. It is the creation of this self that a meditative poem records. A self is ideally one with itself, with other human beings, with created nature, and with the supernatural. Thus the self of meditative poetry speaks a language based on that of common men, but includes whatever in its own experience is unique and individual. In conclusion, Yeats' meditation allows him to reach that Unity of Being where the oppositions of change and changelessness, time and eternity, are reconciled. Toward the union of "the powers of the soul," Yeats's "Unity of Being" by disciplined effort makes his way, while creation of the poetry plays its part in the struggle. Unity of Being is both the resolution to the tension between opposites and the point at which all things connect.

This paper focuses on the similarities and differences between Robert Browning's dramatic monologue and W. B. Yeats's mask theory. Even though two poets were not contemporaries, it is very interesting that they show some similarities in poetic skills and subjects. Unlike Romantics revealing a poet's subjective feeling directly in their poems, Robert Browning created the dramatic monologue to develop the field of the objective expression. In his “dramatic monologue,” a character instead of the poet utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. This person addresses and interacts with other people and we know of his presence, as well as what they say and do, only from the clues in the discourse of the single speaker. In his “My Last Duchess” the Duke is negotiating with an emissary for a second marriage, and the reader can know the speaker's cruel character and intentions. In his “Andrea Del Sarto,” though Andrea was one of the greatest painters in the Renaissance period, he was a failure as an artist because of his artistic passion and indomitable spirit. Excusing his artistic frustration, he once more tries to believe his wife's lies. When Yeats entered art school in Dublin in 1884, he was an enthusiastic reader of English poetry, especially Browning. Yeats was an admiring reader of Browning's poetry, and Browning was one of the nineteenth-century forefather poets of Yeats. He explored, as Browning did, the themes of creative men divided within themselves and struggling to unify their inspirations toward love and intellect, aesthetic contemplation and heroic action. In this process, Yeats developed the concept of masks from the other self in contrast to the natural self perceiving a man as the conflicting existence between subjectivity and objectivity. In his doctrine of mask, Yeats provided a formal aesthetic for the poet's need to speak dramatically through the masks of other personalities; Browning had long practised dramatic poetry in principle in which he donned the masks of personalities totally unlike his own. Browning tended to hide his interests behind the masks of his characters, whereas Yeats more openly voiced a variety of mystical and antithetical thoughts. Yeats happened to find an occasional, almost incidental similarity of language and a shared attitude toward the sources of poetic inspiration with Browning's. By 1929, when he was sixty-four years old, rewriting and revising his poetry with an eye to a collected edition, he announced that he would be turned from Browning. Yeats was an appreciative reader of the older poet, but the great achievement of Yeats's poetry transformed and transcended the influence of Browning.

Per Amica Silentia Lunae (Yeats translated it into Through the Friendly Silences of Moon) was written between January and May of 1917, and consists of a Prologue and an Epilogue for Iseult Gonne, "Ego Dominus Tuss," Anima Hominis and Anima Mundi. In Anima Mundi Yeats said, "I have always sought to bring my mind close to the mind of Indian and Japanese poets, old women in Connacht, mediums in Soho, lay brothers whom I imagine dreaming in some mediaeval monastery the dreams of their village, learned authors who refer all to antiquity: to immerse it in the general mind where that mind is scarce separable from what we have began to call 'the subconscious'... ." In the background of his theory of anti-self there are Indian and Japanese Religious thought, Celtic folklore, Spiritualism, the Order of Golden Dawn, and the great poet Dante. "Ego Dominus Tuss" is a dialogue between two men, Hic and Ille, who discuss poetry and creative process. Ille, like Yeats, is a daimonic poet walking in the moonlight. For Yeats, lunar and subjective were always the antitheses to solar and objective. Poesis called for complete subjectivity, for entry into the friendly silence of the moon. The moon is always associated with feminine divinity. With the help of a mask, Ille is calling to the opposite of his daily self, his anti-self. In the end of the poem, Ille found his anti-self. In Anima Hominis Yeats said that the saint like Christ and Buddha, and the poets like Dante and Keats attained the anti-self. The anti-self is a egoless self, the higher self. Saint, hero, and poet are all inspired. Yeats said, "Saint or hero works in his own flesh and blood and not in paper or parchment, have more deliberate understanding of that other flesh and blood." Only when Yeats became the anti-self could he become a totally subjective mind, overcome the illusion of duality, and find a "revelation of realty." Yeats could receive daimonic inspiration only during visionary experiences. Finally Yeats found the anti-self he felt ecstasy. According to his theory, the production of art was an expression of the artist's longing for "Unity of Being." In Per Amica silentia Lunae Yeats said "the poet, because he may not stand within the sacred house but lives amid the whirlwinds that beset its threshold, may find his pardon."

Nano-sized Ni-ferrite powder was fabricated by spray pyrolysis process using the waste solution resulting from shadow mask processing. The average particle size of the powder was below 100 nm. The effects of the concentration of raw material solution, the nozzle tip size and air pressure on the properties of powder were studied. As the concentration increased, the average particle size of the powder gradually increased and its specific surface area decreased, but size distribution was much wider and the fraction of the Ni-ferrite phase greatly increased as the concentration increasing. As the nozzle tip size increased from 1 mm to 2 mm, the average particle size of the powder decreased. In case of 3 mm nozzle tip size, the average particle size of the powder increased slightly. On the other hand, in case of 5 mm nozzle tip size, average particle size of the powder decreased. Size distribution of the powder was unhomogeneous, and the fraction of the Ni-ferrite phase decreased as the nozzle tip size increasing. As air pressure increased up to 1 kg/, the average particle size of the powder decreased slightly, on the other hand, the fraction of the Ni-ferrite phase was almost constant. In case of 3kg/ air pressure, average particle size of the powder and the fraction of the Ni-ferrite phase remarkably decreased, but size distribution was narrow.

This paper estimates defect and outbreak probabilities of each individual component from some subset of masked data where the exact component causing system failure might be unknown. A system consists of k components that fails whenever there is a defect

다양한 컴포넌트들로 구성된 시스템의 수명 데이터는 시스템 컴포넌트들의 신뢰성을 추정하는데 많이 사용된다. 하지만 비용이나 고장진단의 기술적 문제 때문에 시스템 고장의 정확한 원인을 밝혀내기는 어렵다. 시스템이나 컴포넌트의 수명 데이터 중 정확한 고장원인을 알 수 없는 데이터를 마스크 데이터라 한다. 본 연구는 마스크데이터와 베이지안 추정의 연구방향을 살펴보고, 그리고 고장률의 비정보 사전분포를 이용하여, 컴포넌트가 직렬로 구성된 시스템의 수명 데이터가 마스크 데이터를 갖는 지수분포의 시스템 컴포넌트 고장률을 추정 한다.

W에 소량의 Ti를 첨가하여 그 함량 변화에 따른 X-선 마스크 흡수체용 W-Ti 박막의 물성을 연구하였다. W-Ti 박막은 DC magnetron sputtering system을 이용하여 증착하였다. Sputtering 증착시 증착압력의 증가에 따라 박막의 밀도는 감소하였으며 박막의 응력은 압축응력으로 바뀌었다. Ti 함량이 증가함에 따라 천이 압력 근방에서의 응력곡선의 기울기가 감소하였으며 천이 압력도 점차 낮아지는 경향을 보였다. Pure-W 시편의 경우 천이 압력이 약 6.5mTorr로 비교적 높았으며, 이 때 박막의 밀도는 17.8g/cm3이었고 함량 6.5%에서 가장 낮은 천이 압력(4.3mTorr)을 보였으며, 이때의 박막 밀도는 17.7g/cm3로 pure-W과 거의 차이가 없음을 알 수 있었다. SEM을 이용한 미세구조 분석결과 pure-W 박막은 원형의 주상정 조직을 보이고 있으며, Ti가 첨가된 W-Ti 박막의 경우에는 가늘고 긴 침상 모양을 가지는 주상정 조직을 형성하고 있다. 또한 이러한 침상조직은 Ti함량이 증가할수록 더욱 발달하고 있으며, AFM 분석결과 Ti 첨가 시편 모두 18Å이하의 우수한 평균 표면 평활도를 나타내었다. 나타내었다.

WNx 는 리소그라피 마스크의 흡수체나 VLSI 기술에서 금속연결의 확산방지재로써 주목을 받고 있다. RF마르네트론 스퍼터링법으로 여러 증착변수에서 제조한 WNx 막을 고찰하였다. SiNx 멤브레인 위에 증착된 박막의 결정구조는 질소아르곤 가스유량비(0-30%), 가스압력(10-43mTorr), RF출력(0150W)및 기판과 타겟사이의 거리 6cm에서 증착한 WNx 박막은 비정질이였으며 다른 조건에서는 표면이 거친 다결정질이었다. 비정질 박막은 rms가 3.1Å으로 아주 매끈하여 X-선 마스크용 흡착제로써 적합할 것으로 기대된다.

본 연구에서는 LPCVD, PECVD, ECR plasma CVD방법을 이용하여 x선 노광 공정용 마스크의 투과막재료로써의 실리콘질화막의 증착과 그의 물성에 관하여 실험하였다. X선 노광 마스크용 투과막의 재질로써 요구되는 적정인장응력에 가지는 증착조건으로 실리콘질화막을 1μm정도의 두께로 증착하였으며 이 조건에서의 물성을 SIMS, XPS, ESR, AFM, spectrophoto-metry를 이용하여 비교 분석하였다. ECR plasma CVD방법으로 얻은 실리콘 질화막은 화학양론적 조성(Si/N=0.75)에 근접하는 막을 얻을 수 있었으며 표면 평활도와 가시광투과도가 가장 우수한 결과를 얻었다. 저온 증착법인 PECVD로 얻은 막은 Si/N비가 약 0.86정도이고 산소와 수소의 불순물함량이 가장 높게 나타났다. SiH2CI2를 이용한 LPCVD막의 경우는 Si-rich조성을 가지지만 수소 불순물의 함량이 가장 작게 나타났고 표면거칠기는 가장 나쁘게 나타났다. 그러나 위의 방법으로 얻은 실리콘 질화막의 최대 가시광투과도는 633nm파장에서 모두 90%이상의 값을 나타내었고, 또한 표면 평활도도 0.64-2.6nm(rms)로 현재 연구되고 있는 다른 X선 투과막재료보다 월등히 우수한 결과를 보였다.

다층 및 다중구획 하이드로젤을 설계하여 4D 마스크팩 적용을 위한 자가접힘 특성분석을 수행하였다. 온도민감성 분자를 하이드로젤에 도입하여 팽창비가 다른 두 층으로 구성된 하이드로젤을 제조하였다. 나아가 팽창비 차이를 조절하여 자가접힘 정도가 다른 삼중구획 하이드로젤을 설계하였다. 상온에서 각각 0.03, 0, 0.03 mm-1의 곡률을 갖는 구획화된 하이드로젤은 피부 온도에서 1.33, 0, 1.33 mm-1의 곡률로 변화하여, 안면 밀착성이 현저히 높아지는 것을 확인하였다. 다층 및 다중구획 하이드로젤 제조 기술은 안면의 부위별 굴곡모양에 따라 자가변환이 가능한 맞춤형 4D 마스크팩 구현에 활용될 수 있다.