• Korean Journal of Environmental Biology
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• v.32 no.1
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• pp.58-67
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• 2014

The outdoor mass cultivation is not possible for microalgae in Korea all year round, due to cold winter season. It is not easy to maintain proper level of productivity of microalgae even in winter. To prevent a drastic decrease of temperature in a greenhouse, two layers were covered additionally, inside the original plastic layer of the greenhouse. The middle layer was made up of plastic and the inner layer, of non-woven fabric. Acrylic transparent bioreactors were constructed to get more sunlight, not only from the upper side but also from the lateral and bottom directions. In winter at freezing temperatures, six different culture conditions were compared in the triply covered, insulated greenhouse. Wastewater after anaerobic digestion was used for the cultivation of microalgae to minimize the production cost. Water temperature in the bioreactors remained above $10^{\circ}C$ on average, even without any external heating system, proving that the triple-layered greenhouse is effective in keeping heat. Algal biomass reached to 0.37g $L^{-1}$ with the highest temperature, in the experimental group of light-reflection board at the bottom, with nitrogen and phosphorus removal rate of 92% and 99%, respectively. When fatty acid composition was analyzed using gas-chromatography, linoleate (C18 : 3n3) occupied the highest proportion up to 61%, in the all experiment groups. Chemical oxygen demand (COD), however, did not decrease during the cultivation, but rather increased. Although the algal biomass productivity was not comparable to warm seasons, it was possible to maintain water temperature for algae cultivation even in the coldest season, at the minimum cost.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.15 no.6
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• pp.189-207
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• 2020

The government has achieved quantitative growth in university start-up education while supporting start-up education. However, it failed to systematize start-up education from an academic, policy, and practical perspective and to reveal the relationship between education and achievements in supporting start-ups. Therefore, there is a lack of interest and effort to promote effective education. In Europe, in-depth research has already been done over many years to establish an EntreComp system. Competences create values for others and attempt to apply them to education, viewing them as the people's lifelong competitiveness. On the other hand, it is urgent to improve the education system as domestic university start-up education is mainly focused on cultural level start-up skills and easy-to-access education from a business administration perspective. Based on this, the entrepreneurship competence-based start-up education system was designed. Next, eight EntreComp frames were drawn for university students through the Focus Group Interview (FGI) and Delphi survey methods, as well as domestic and international prior studies on EntreComp. In 2018, 919 start-up education programs of 42 start-up leading universities were conducted to derive the status of education by EntreComp. Prior studies of 25 entrepreneurship competences, including data from Bacigalupo et al.(2016), which studied EntreComp in the EU, were investigated and reflected the frequency of research and the importance of education and start-up perspectives. Based on the purpose of the university start-up education presented in this study, the entrepreneurship competence frame consisting of a total of eight, including spotting opportunities, value creation, self improvement, mobilising resources, technology application, strategic management, relationship, and learning through experience, was derived through expert verification. It also investigated the current status of education by competence, the degree of reflection of competence education, and the relationship with the results of support for start-ups that reflect the number of students enrolled in each university. Through this, it was suggested that future start-up education at universities could be improved from the EntreComp perspective. It has a differentiation in research in that it conducted a thorough survey using the data on start-up courses operated by leading startup universities for a certain period. However, it is difficult to generalize because the number of samples of leading startup universities is limited. Nevertheless, this study proposes the educational goal of advancing university start-up education from the perspective of entrepreneurial competence, cultivating future required competences, and fostering entrepreneurial talents that create value for others. In addition, it is meaningful in that it presents a clear direction for subsequent research by preparing a framework for research from a more essential perspective on the entrepreneurship competence frame.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.