• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2004.04a
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• pp.103-109
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• 2004

The term ton is widely used as the unit of the ship's size nowadays. Before people accepted the term ton as the unit of the ship's size, the various terms had been used for indicating the ship's size. For examples, the term ton was used in Western Europe, last in Northern Europe, cantara in Geneva, milliaria in Venice, and carra in Naple. In Asia the rice had been the most important cargo for many centuries. So the term SEOK in Korean or SHI in Chinese was used as the unit of the ship's size. Especially the Chinese used the term LIAO or RYO in Korean for indicating the ship's size. As above seen, the different terms had been used for showing the ship's size from places to places. But with the introduction of Moorsom's Tonnage Measurement in the 19th century and its spread to all over the world, the term ton was become the only unit of ship's size.

• Journal of Navigation and Port Research
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• v.28 no.5
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• pp.339-345
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• 2004

The term ton is widely used as the unit of the ship's size. Before people used the term ton as the unit of the ship's size, the various terms had been used for indicating the ship's size. For examples, the term ton was used in Western Europe, last in Northern Europe, cantara in Geneva, milliaria in Venice, and carra in Naple respectively. In Asia the rice had been the most important cargo for many centuries. So the term SEOK in Korean or SHI in Chinese was used as the unit of the ship's size. Especially the Chinese used the term LIAO in Chinese or RYO in Korean for indicating the ship's size. As above seen, the different terms had been used for showing the ship's size from places to places. But with the introduction of Moorsom's Tonnage Measurement in the middle of the 19th century and its spread to all over the world, the term ton was become the only unit of ship's size.

• KSBB Journal
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• v.11 no.1
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• pp.58-64
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• 1996

The purpose of this study is to develop a continuous process for sorbitol production using Zymomonas mobilis immobilized in K-carra-geenan. The glutaraldehyde cross-linking of toluene-treated cells immobilized in alginate or chitin showed high enzyme stability for long period. However, loss of enzyme activity was observed at 23% during 210h. In order to investigate the stability of glucose-fructose oxidoreductase of cethyltrimethylammoniumbromide (CT AB) treated cells, the long term continuous process was carried out with Z. mobilis immobilized in K-carrageenan in the continuous stirred tank reactor(CSTR) and the packed bed reactor. The continuous production of sorbitol with the immobilized CT AB permeabilized cells in packed bed reactor was more stable than in CSTR. Two stage continuous process with CT AB treated cells of Z. mobilis immobilized in K-carrageenan was carried out at various dilution rates. At the first stage, the productivity was increased up to 15 g/ $\ell$ -h as dilution rate increased and decreased over 0.32$h^{-1}$ of dilution rate. Similarly, maximum productivity obtained at the second stage was 22g/$\ell$ -h at 0.32$h^{-1}$

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• The Plant Pathology Journal
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• v.33 no.6
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• pp.561-571
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• 2017

Prospecting of local grapevine (Vitis vinifera L.) germplasm revealed that Tunisia possesses a rich patrimony which presents diversified organoleptic characteristics. However, viral diseases seriously affect all local grapevine cultivars which risk a complete extinction. Sanitation programs need to be established to preserve and exploit, as a gene pool, the Tunisian vineyards areas. The presence of the Grapevine leafroll associated virus-3 (GLRaV-3), Grapevine stem pitting associated virus (GRSPaV) and Grapevine virus A (GVA), were confirmed in a Tunisian grapevine cultivar using serological and molecular analyses. The association between GRSPaV and GVA viruses induces more rugose wood symptoms and damages. For this reason the cleansing of the infected cultivar is highly advisable. Direct and recurrent somatic embryos of cv. 'Hencha' were successfully induced from filament, when cultured on $Ch{\acute{e}}e$and Pool (1987). based-medium, enriched with $2mg1^{-1}$ of 2,4-dichlorophenoxyacetic acid and $2.5mg1^{-1}$ of Thidiazuron, after 36 weeks of culture. After six months of acclimatization, RT-PCR carried on 50 somaplants confirmed the absence of GVA, GRSPaV as well as GLRaV-3 viruses in all somaplants. Ampelographic analysis, based on eight OIV descriptors, was carried out on two years acclimated somaplants, compared to the mother plant. Results demonstrated that the shape and contours of 46 somaclones leaves are identical to mother plant leaves and four phenotypically off-type plants were observed. The healthy state of 100% 'Hencha' somaclones and the high percentage of phenotypically true-to-type plants demonstrate that somatic embryogenesis is a promising technique to adopt for grapevine viruses elimination.