large amount of effluent water would be produced from low temperature coal catalytic gasification (LTCCG) developed by ENN Co, Ltd, which located at Langfang, Hebei Province. Many phenol homologous compounds and a large amount of other organic compounds were contained in this effluent water, but the overall concentration of the organic compounds was not very high (CODCr value was about several thousands mg/L). Too high cost would occur if treating it with a traditional liquid-liquid extraction process, and it was a waste of resources if the effluent water was directly purified with biochemical technology. In this paper, a decontaminating and recycling technique was developed for an effluent water, and a two-step technique includes flocculation-recycling and ion exchange adsorption-elution processes. By this two-step process, the CODCr value of the final outlet water was decreased to meet the related national standards, and at least 90% of the organics in the effluent water could be recovered.

벨기에 극작가 모리스 매터링크는 새로운 드라마를 창조하기 위해서 셰 익스피어와 입센을 연구하여, 가냘프고 다소 있을법하지 않은 주인공들을 괴롭히는 일 종의 좀 몰인정한 운명론과 인생의 무의미성을 결합한다. 이런 종류의 극은 예이츠, 싱, 그리고 무엇보다 새뮤엘 베켓트를 예상하게 한다. 사실, 메터링크의 미궁 같은 성 (城)의 무대장치는 많은 모더니스트 극의 이해 불가하거나 이해하기 어려운 무대장치 를 예상케 한다.

본 연구는 특별히 공동체 기반 계획 과정에 있어서 참여적이고 협력적인 지리시각화의 구현을 보여주는데 목적을 두고있다. 최근의 비평적 시각 방법론(critical visual methodologies), 지리시각화, 그리고 참여GIS(participatory GIS) 연구에서 부각되고 있는 ‘비쥬얼’에 관한 논의, 특히 비쥬얼에 단순한 사실보다 더 큰 가치를 두는 관점에 기반하여, 이 논문은 계획 과정에 있어서 확장된 지리시각화의 활용이 능동적으로 지역주민의 계획 참여와 협력을 도출하게 하고, 또한 주민들이 합의하는 계획안을 표현할 수 있는지를 보여준다. 지리시각화는 지역주민들에게 비평적인 의식을 가짐으로, 그들 지역에 관한 지식을 발견하고 숙고하며, 구상하도록 하는데, 이러한 주민들의 지역지식은(local knowledge) 전형적인 계획과정에서 종종 경시되어 왔다. 지역 참여자들은 다양한 형태의 지리시각화를 통해 어떻게 근린지구에 대한 그들의 이해가 규정, 설명, 상충, 교섭된 후 시각화되는 과정을 보게 된다. 뉴욕주 버펄로시 매스턴 지구 근린단위계획 사례들은 계획 과정속에서 어떻게 이러한 참여적이고 협력적인 성향의 지리시각화가 나타나는지를 실증한다.

소나무재선충병(Pine Wilt Disease)을 일으키는 소나무재선충은 매개충에 의해서 다른 지역으로 확산되어 소나무림의 파괴와 막대한 경제적 손실을 가져오고 있다. 이러한 소나무재선충병의 매개충인 솔수염하늘소의 기주간 이동행동과 이들로부터 기주로 이동하는 소나무재선충의 밀도에 대하여 조사를 하였다. 야외 사육상(4×2×2.5m)내에 3~5년생 해송 pot묘를 설치하고 솔수염하늘소를 방사한 후 30일 동안 매일 오전(8시), 오후(5시)에 솔수염하늘소의 해송기주간 이동 및 기주출현율을 조사한 결과 솔수염하늘소 한마리당 해송기주 출현율은 40.0~53.3%였고, 기주이동은 암수별로 차이가 나지 않았고, 낮(78.3±12.3%)시간대보다 밤(21.7±12.3%)시간대에 이동율이 높았다. 매개충(솔수염하늘소, 북방수염하늘소)으부터 소나무재선충 이동탈출수를 조사하기 위하여 간이 케이스(직경 10㎝×높이 5㎝)에 해송 신초와 함께 매개충을 처리한 후 매일 해송 신초로부터 소나무재선충을 분리한 결과 솔수염하늘소(n=40)는 평균 72일간 조사기간 동안에 소나무재선충은 18~59일정도 이동탈출을 하였고, 평균 3,570마리가 신초로부터 분리되었다. 북방수염하늘소(n=36)의 경우 58일간 조사기간 동안에 소나무재선충은 8~51일정도 이동탈출하였으며, 평균 1,556마리가 신초로부터 분리되었다. 또한 탈출기간내 매개충으로부터 소나무재선충 이동탈출율을 조사한 결과 솔수염하늘소는 탈출 초기 41.4%, 중기 34.3%, 말기에 24.3%순으로 조사되었고, 북방수염하늘의 경우 각각 36.6%, 41.7%, 21.7%순으로 조사되었다.

이온 주입에 의하여 경화된 탄화층을 가지는 포토레지스트는 통상적인 습식 또는 건식 처리로는 제거하기가 매우 어렵다. 본 연구에서는 확산성과 물질전달특성이 우수한 초임계 이산화탄소와 공용매 및 첨가제를 사용하여 고이온 주입된 포토레지스트를 제거하는 방법을 연구하였다. 공용매의 종류 및 농도, 압력, 온도, 첨가제의 종류에 따른 제거특성을 연구하였으며, 제거 전 후의 웨이퍼 표면 상태 및 성분을 SEM, EDS를 사용하여 분석하였다. 산 혼합 공용매를 사용하여 4000psi, 70℃에서 2분간 처리 하였을 때, 포토레지스트는 100% 제거됨을 알 수 있었다.

매발톱꽃속(genus Aquilegia)에 속하는 국내 3분류 군과 외래종 9분류군을 대상으로 RAPD분석을 실시하 여 종의 특이성 및 종간 유연관계를 비교 분석하였다. RAPD분석은 annealing 온도가 높아 재현성이 뛰어난 20mer primer인 URP primer 12쌍을 사용하였다. 12 쌍의 URP primer 중 6개의 primer에서 polymorphism 을 보이는 DNA band가 검출되었다. 검출된 band는 약 4kbp~200bp의 비교적 넓은 범위에 분포되어 있었 다. 총 93개의 DNA band가 검출되었으며 이 중 81 개 DNA band(87.1%)가 polymorphic한 band 양상 을 보였다. Polymorphism을 보이는 DNA band는 각 primer에 대해 10~16개로, 평균 13.5개의 DNA band 가 검출되어 유사도 행렬 계산에 사용되었다. 유사도 행렬 작성 결과 약 52.7~90.3%의 범위 안에서 유사 도를 나타냈으며, 이를 기준으로 dendrogram을 작성한 결과, 약 63%의 유사도에서 2개의 group으로 나뉘는 것을 확인할 수 있었다.

본 연구에서는 NMP용매를 사용하여 폴리술폰 용액을 캐스팅 하고 상전이 방법으로 비대칭성 폴리술폰 막을 제조하였다. 비대칭성 폴리술폰 막 제조 시 응고조로 물과 알코올(메탄올, 에탄올, 프로판올) 수용액을 사용하였다. 폴리술폰 막의 수투과도와 다공도를 조절하는 인자로 서로 다른 용해도 계수를 갖는 알코올의 영향에 대한 특성을 평가하였다. 알코올 응고조에서 제조된 비대칭성 폴리술폰 막은 전형적인 sponge-like 구조를 나타내었으며 물 응고조에서 제조된 폴리술폰 막은 알코올 응고조에서 제조된 폴리술폰 막보다 낮은 수투과도를 나타내었다. 물과 알코올의 혼합 응고조에서 생성된 비대칭성 폴리술폰 막은 finger-like 구조와 sponge-like 구조가 혼재되어 있음을 확인할 수 있었다. 즉, sponge-like 구조의 폴리술폰 막은 상전이 속도가 감소함에 따라 다공도가 현저하게 감소함을 알 수 있었다. 그 결과 물 응고조에서 제조된 폴리술폰 막의 수투과도는 14.7 psi에서 164 [L/m2hr] 이고 메탄을 응고조와 에탄을 응고조에서 제조된 폴리술폰 막은 각각 56 [L/m2hr]과 30 [L/m2hr]를 나타내었다.

Yeats held a life-long interest in Japanese culture, and employed the images, knowledge and inspiration he gained from Japan in many of his literary works. On the whole, it was the Japanese literary form that was most significant in his development as a writer. It was through the translations of Ezra Pound and Ernest Fenollosa that Yeats became acquainted with Noh, the medieval Japanese drama. It is generally agreed that Yeats’s encounter with Noh marked a turning point in his career as a dramatist. The Noh led him to create “a form of drama, distinguished, indirect and symbolic...an aristocratic form.” In “Note to At the Hawk’s Well,” Yeats writes: I have found my first model—and in literature, if we would not be parvenus, we must have a model—in the ‘Noh’ stage of aristocratic Japan. From this statement, we can see how significant the Noh-form was to Yeats in his development as a playwright. When Yeats was first introduced to Noh, he immediately perceived affinities with Irish legends and beliefs. The Noh was not something completely new or alien to Yeats. It was the discovery of an ideal, an ideal form for him to express his perennial themes of the tension between the physical and spiritual worlds. Yeats’s Noh-inspired plays are often categorized as “dance plays” and we can see that “dance” was an important symbol which Yeats developed through his experience with Noh. Yeats wrote in his “Introduction” to Certain Noble Plays of Japan that it was a Japanese dancer, Ito Michio, who inspired him to write his new play, At the Hawk’s Well (1916). In Noh, the dance which is usually danced by a supernatural figure, is placed at the centre. Here, the supernatural dominates the stage and the action develops toward a moment of enlightenment. Yeats precisely points out this fact and writes that in his new play, instead of “the players working themselves into a violence of passion...the music, beauty of form and voice all come to climax in pantomimic dance.” However, since Yeats intended Cuchulain as the central figure of At the Hawk’s Well, the theatrical effect of the dance had to differ from that of Noh. Another characteristic of this play is that it dramatizes the ‘transformation’ of the Guardian of the Well, the role which Ito Michio played, through spirit possession. This change in personality is conveyed by means of a change in costume(she throws off her cloak to reveal a dress suggesting a hawk). This is a method resembling ‘monogi(物着),’ one of the most important dramatic conventions of Noh. Yeats explores this device again, in The Only Jealousy of Emer(1919), another dance play modeled on Noh, but this time using different masks to show the change in personality. Yeats’s interest in this motif of spirit possession eventually led him to write The Words Upon the Window-Pane(1930), a play where he dramatizes a seancē. Here, the dramatic tension is concentrated mainly on a supernatural manifestation through the ‘protagonist’ who is a professional spiritual medium. In this paper, I have discussed Yeats’s relationship with Noh through a detailed analysis of At the Hawk’s Well. In this play, we can see many aspects of Noh. The simplified stage, the musicians, the mask, the dance, the use of a square blue cloth to represent a well; these are characteristics reminiscent of Noh. However, we must note that this play was not merely an imitation of Noh but a completely new form of creative writing. Richard Taylor indicates the influence of Yoro, a felicitous Waki-noh, or God Play on this play. A comparison of these two plays reveal that Yeats had no intention of following the Noh paradigms faithfully. However, the inspiration he gained from Noh opened a wide range of dramatic experiments enabling him to write a sequence of dance plays. In later plays such as The Words Upon the Window-Pane and Purgatory, Yeats succeeded in achieving a dramatic effect closer to that of Noh.

본 연구에서는 광대역 불규칙가진력을 받는 자기매계변수계의 모드상호작용을 고찰하였다. 고찰대상 모델은 매우 흔한 구조물의 형태인 내부공진을 갖는 자기매계변수 동흡진기이다. Gaussian closure 방법에 의하여 계의 불규칙 응답을 나타내는 동적 모멘트방정식은 1차 및 2차 모멘트로 구성된 자율 상미분방적식으로 줄여진다. 계의 평형해와 평형해의 안정성측면에서 계의 응답이 조사되었다. 참고문헌 [18]과 [20]에서 보고된 발견한 감쇠가 안정성을 축소하기도 한다라는 이 효과는 본 연구에서 발견할 수 없었다. 또한 확정적 비선형계에 존재하는 포화현상은 발견되지 않았다.

This study proposes to venture into the common elements and differences in both W.B. Yeats’s and Derek Walcott’s poems. It has been said that the young Walcott was sympathetic to the Irish writers, such as Synge, Pearce, Yeats, and Joyce, because he intended to make himself master of the themes and rhythms of the exile or castaway that the Irish writers echoed in their works. Of the Irish writers, Yeats was especially a poet who a little more previously wrote of the same issue as the young Walcott tried to and the young poet’s attention was deeply caught in the Yeatean poetics, more specifically, in the Yeatean mask which echoes a solitary self as an artist. Walcott’s Crusoe as a poetic self echoes the Yeatean mask. More specifically, it is a parallel for a poet with his daily ritual of the poet creating a new poem in the desperately isolated island. It is believed to be created by Walcott’s comparing himself and his own country to Yeats and Ireland in terms of an exile, a castaway or a lost self, which reflects a solitary and artistic figure in his poems, such as in “Crusoe’s Island” and “As John To Patmos”. Despite this fact, Walcott is also a poet who has built up the self-figure on a different base from Yeats’s heroic or aristocratic self. His poems are based on the Caribbean multi-racial background characteristic of slavery, poverty, lost hope, and lost identity that have resulted from the colonial policy of the British government that stepped into the Spanish and the French shoes. His Caribbean figure is a poverty-stricken, obedient, but patient, willful castaway, with his thick lips tightly closed. Although Walcott is a poet who has developed his own poetic self on the Yeatean base, which resulted in his fruitful poems, it is believed that he made greater efforts to weave the Caribbean spirit into poems than others. Then, the Caribbean tropical landscapes, such as sea, wood, and sun, etc. are a poetic space which sublimated his themes into the Caribbean soul.

Methyl fructoside oleic acid polyester(MFPE), fructose-based sugar polyester, was synthesized by solvent-free, soap-free transesterification of methyl oleate with methyl fructoside(MF) as a sugar starting material in the presence of conventional potassium carbonate basic catalyst. Methyl fructoside was found to be an effective sugar starting material, because of its low softning point, high heat stability, high miscibility, and high reactivity than other sugars. Yield 98% of purified MFPE based on initial weight of MF was obtained at 1:5 of the molar ratio of methyl fructoside to methyl oleate, 2%(w/w) of potassium carbonate catalyst content, 20~200mmHg of reduced pressure and 180℃ of reaction temperature. MFPE structure was confirmed by infrared and proton nuclear magnetic resonance spectroscopy. Physical properties of methyl of fructoside oleic acid polyester such as viscosity, HLB, solubility, color, refractive index, specific gravity, and density were similar to physical properties of sucrose polyesters(SPE) and vegetable oils. Then, it was elucidated that MFPE was sufficient to replace the SPE and conventional oils.