We have observed the deuterated methanol, CH3OD, toward the hot core MM1 in the massive star-forming region DR21 (OH) using the Submillimeter Array with a high angular resolution of about 1 arcsecond. The position of the hot core associated with the sub-core MM1a was confirmed to coincide with the continuum peak where an embedded young stellar object is located. The column density of CH3OD was found to be about (2 ± 1) x 1016 cm-2 toward the MM1a center. The abundance ratio CH3OD/CH3OH was measured to be ~ 0.45, which is about the median value for low mass star-forming cores but much larger than those of the massive star-forming cores. The ratio is believed to change depending on, for example, the chemical condition, the temperature and the density of the source. This ratio may further depend on the evolutionary phase especially in the massive-star-forming cores. The sub-core MM1a is thought to be in the very early phase of star formation. This large abundance ratio found in this source indicates that even the massive star-forming cores, during a relatively short period in the very early stage of star formation, may also show a chemical state resulted from the cold and dense pre-collapsing phase, the enhanced deuteration as found in low mass star-forming cores.

이 글은 최근 몇 년간 한국의 텔레비전 프로그램 중에서 가장 많은 주목을 받고 있는 오디션 리얼리티 쇼의 등장인물의 성격 유형과 수행 기능을 살 펴보고자 했다. 이를 위해 MBC TV의 <스타오디션 위대한 탄생>과 Mnet의 <슈 퍼스타 K2> 주요 등장인물인 TOP4를 대상으로, 이들의 성격 유형을 에니어그램 을 통해 분류하고 수행 기능을 행위소모델과 기호사각형을 통해 분석했다. 연구결 과에 의하면, 두 프로그램의 TOP4 등장인물은 발신자-수신자, 주체-대상, 조력자 -반대자의 3개 대립항이 상호교차 되면서 중복 기능을 하고, 공유하는 정보를 중 첩적으로 이용하며, 특히 주체는 조력자를 통해 추구 대상을 얻기 위한 정보를 학 습하는 것으로 나타났다. 이와 같은 결과는 두 프로그램의 등장인물이 관계적 행 위를 통해 다양한 의미론적 작용을 하는 것이라고 볼 수 있다. 이는 이들이 오디 션, 리얼리티, 쇼라고 하는 성공의 욕망을 구체화시켜주는 기제들을 통해 경쟁과 협력이라는 이중의 역설적인 관계 속에 위치하고 있음을 의미하기도 한다.

본 연구에서는 SDSS DR6을 이용하여 별탄생율과 활동성 은하핵의 막대의 특성, 특히 막대의 세기에 대한 의존성을 조사하였다. 막대의 세기를 보다 잘 표현하기 위하여 막대의 길이와 축비를 이용하여 막대를 6개의 군으로 나누었다. Hα 방출선 세기로부터 구한 별탄생율은 막대의 세기와 좋은 상관관계를 보였으나 활동성 은하핵은 막대와 또렷한 상관관계를 보이지 않았다. 전자의 상관관계는 막대에 의해 유발되는 가스 유입이 막대의 세기에 의존하기 때문이라고 해석되며, 활동성 은하핵이 막대의 특성과 특별한 상관관계를 보이지 않는 것은 초중량 블랙홀로 들어가는 가스의 양이 막대와 초거대 블랙홀과의 상호 작용에 의해 조절된다는 것을 의미한다. 활동성 은하핵은 주변의 밀도에 의해 영향을 받으나 별탄생율은 주변의 밀도와 무관해 보인다. 이것은 별탄생은 은하에서의 가스 밀도에 의해 결정되는 국지적인 현상인데 반해 활동성 은하핵은 질량이나 광도와 같은 은하의 특성이 밀도-광도관계로 표현되는 은하의 환경 의존성과 밀접한 관계가 있음을 암시한다.

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can’t overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector’s personal taste or but also by commercial circulations of these reproductions to the public. This relates to Benjamin’s argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public’s quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics’ articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.