• KOREAN JOURNAL OF CROP SCIENCE
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• v.36 no.3
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• pp.266-270
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• 1991

Storage in the form of brown or milled rice saves space and cut cost rather than storage of rough rice, the common way of grain storage in Korea. But, brown or milled rice may be more susceptable to grain aging and sensory change than rough rice. Rice stored in government warehouse for 20 months after harvest was hulled into brown or milled rice and packaged with kraft paper bag (paper package), polyprophylen (PP package), and polyethylene (PE package). Then, after those rice packages were stored under room condition for one year, we investigated germinability, fat acidity, and sensory change to determine milling and packaging effects. Germinability of rough and brown rice was decreased significantly after long-term storge. In germination rate, Chucheong cultivar was lower than Milyang #23, brown rice was lower than rough rice, but there was no differences within packaging materials. TTC test which had a significant correlation with germinability can be used as a handy procedure for predicting grain germination. Fat acidity was increased as the order of rough < milled < brown rice in terms of milling, and PP < paper < PE package in terms of packaging materials. Especially, storage of brown rice increased fat acidity above 30 mg KOH, indicating one of characteristics of grain aging. To prevent from high fat acidity it was necessary to store in forms of rough grain with paper or PP packaging and milled rice with paper, or PP, or PE packaging. In sensory test of stored grain, eating quality in brown rice was the worst because of acidification of fatty acid. Also, eating quality of stored grain became worse as fat acidity increased.

• The Journal of the Society of Stroke on Korean Medicine
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• v.15 no.1
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• pp.57-65
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• 2014

■ Objectives The purpose of this case report is to show an effect of korean medicine for patient with bilateral abducens nerve palsy. ■ Methods This patient was 58 year-old man who was diagnosed with bilateral abducens nerve palsy. The patient had Diabetes Mellitus, hypertension, benign prostatic hyperplasia and dyslipidemia as underlying diseases. The patient had symptoms of limited eye movement to lateral, diplopia, dizziness and mild headache. He was treated by korean medicine, containing electroacupuncture, pharmacoacupuncture, moxibustion and herb medicines during 13 days of hospitalization and following outpatient department. His eye movement was evaluated by the method of Scott and kraft and discomfort from his symptoms was scored by the Numerous Rating Scale. And other general conditions were measured. ■ Results After that period, patient's abduction deficit was improved and subjective discomfort from his symptoms was getting better. His other conditions were also better, compared with his admission. ■ Conclusion This study suggests that Korean medicine could have a therapeutic effect for bilateral abducens nerve palsy. So, It could help to relieve patient's symptoms and make general conditions better.

• Journal of the Korean Wood Science and Technology
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• v.52 no.3
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• pp.221-233
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• 2024

Lignin, a prominent constituent of woody biomass, is abundant in nature, cost-effective, and contains various functional groups, including hydroxyl groups. Owing to these characteristics, they have the potential to replace petroleum-based polyols in the polyurethane industry, offering a solution to environmental problems linked to resource depletion and CO₂ emissions. However, the structural complexity and low reactivity of lignin present challenges for its direct application in polyurethane materials. In this study, Kraft lignin (KL), a representative technical lignin, was fractionated with ethanol, an eco-friendly solvent, and mixed with conventional polyols in varying proportions to produce polyurethane films. The results of ethanol fractionation showed that the polydispersity of ethanol-soluble lignin (ESL) decreased from 3.71 to 2.72 and the hydroxyl content of ESL increased from 4.20 mmol/g to 5.49 mmol/g. Consequently, the polyurethane prepared by adding ESL was superior to the KL-based film, exhibiting improved miscibility with petrochemical-based polyols and reactivity with isocyanate groups. Consequently, the films using ESL as the polyol exhibited reduced shrinkage and a more uniform structure. Optical microscope and scanning electron microscope observations confirmed that lignin aggregation was lower in polyurethane with ESL than in that with KL. When the hydrophobicity of the samples was measured using the water contact angle, the addition of ESL resulted in higher hydrophobicity. In addition, as the amount of ESL added increased, an increase of 7.4% in the residual char was observed, and a 4.04% increase in Tmax the thermal stability of the produced polyurethane was effectively improved.

• Lingua Humanitatis
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• v.8
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• pp.39-58
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• 2006

In Hegels Wissenschaft der Logik wird die Idee als Leben des Begriffes, objektive Vollendung und Einheit von Subjekt und Objekt bezeichnet. Die Idee ist die Einheit von Begriff und dessen Existenz und des weiteren die "allgemeine Bedeutung des wahren Seins". Die Idee ist nicht die Namensgebung einer Abstraktion der Sache als abstrakte Sache oder einer reinen Form, sondern 'das Werden zum Diesem' oder 'das Diese' des konkreten und realistischen Objektes 'Dies hier und jetzt'. Auf einer solchen logischen Bestimmung beruhend, behauptet Hegel in seiner ${\ddot{A}}sthetik$ die Gleichheit zwischen "$Sch{\ddot{o}}nheit$" selbst und der "Idee der $Sch{\ddot{o}}nheit$". "Das $Sch{\ddot{o}}ne$ selbst" ist gleichzusetzen mit der "Idee der $Sch{\ddot{o}}nheit$" und wenn die Idee in einer bestimmte Form hineinpasst, wird dies das Ideale genannt. Hier liegt der Grund, weshalb wir die Idee als Begriff, Begriff des Daseins oder Einheit des Objektes bezeichnen $k{\ddot{o}}nnen$. Die Idee ist die Einheit von Begriff und dessen $Realit{\ddot{a}}t$, jedoch ist die dominierende Kraft der Einheit der Begriff. Die Idee ist die $Totalit{\ddot{a}}t$ der subjektiven Bestimmung und nur das Werk dass mit dem Begriff passend Einheit und $Objektivit{\ddot{a}}t$ hervorbringt, ist wirklich $sch{\ddot{o}}n$. Umgekehrt gesagt bedeutet diese Aussage, dass etwas wirklich $sch{\ddot{o}}n$ ist, wenn dies zu dem Begriff passt, und dass das genau zum Begriff passende ist mit dem Begriff gleichzusetzen ist. Wie bereits $bewu{\beta}t$, hat Kant die $f{\ddot{u}}r$ den kognitiven Begriff verantwortliche bestimmende Urteilskraft und das ${\ddot{a}}sthetische$ Urteil treffende reflektierende Urteilskraft, differenziert. Im Gegensatz dazu $erkl{\ddot{a}}rt$ Hegel die Beziehung zwischen Sein und Denken, Dasein und Begriff, Begriff und Idee mit dem Blickpunkt dass das $Verm{\ddot{o}}gen$ und die Funktion der Urteilskraft selbst eine grundliegend auf Reflektion beruhende Bestimmung ist und eine auf Bestimmung beruhende Reflektion ist. Nach dieser Logik entsprechend $f{\ddot{u}}hrt$ er die Beziehung zwischen der $sch{\dodt{o}}nen$ Sache und $Sch{\ddot{o}}nheit$ zusammen. In dieser $Erkl{\ddot{a}}rung$ verwirft Hegel Kants Begriffe wie Urteilskraft und Geschmack, und verwendet vorwiegend die von seiner Lehre vom Begriff auftauchende Begriffe. Die Zielsetzung dieser Arbeit ist, den Satz in Hegels ${\ddot{A}sthetik$ "Das $Sch{\ddot{o}}ne$ ist die Idee des $Sch{\ddot{o}}nen$" auf den Grund zu gehen. Um dieses Ziel zu verfolgen, wird das epistemologische $Verh{\ddot{a}}ltnis$ zwischen Dasein und Begriff, das logische $Verh{\ddot{a}}ltnisas$ zwischen Begriff und Idee betrachtet.

• Journal of Global Scholars of Marketing Science
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• v.20 no.3
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• pp.231-238
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• 2010

The anthropomorphism of brands, defined as seeing human beings in brands (Puzakova, Kwak, and Rosereto, 2008) is the focus of this study. Specifically, the research objective is to understand the ways in which brands are rendered humanlike. By analyzing consumer readings of stories found on food product packages we intend to show how marketers and consumers humanize a spectrum of brands and create meanings. Our research question considers the possibility that a single brand may host multiple or single meanings, associations, and personalities for different consumers. We start by highlighting the theoretical and practical significance of our research, explain why we turn our attention to packages as vehicles of brand meaning transfer, then describe our qualitative methodology, discuss findings, and conclude with a discussion of managerial implications and directions for future studies. The study was designed to directly expose consumers to potential vehicles of brand meaning transfer and then engage these consumers in free verbal reflections on their perceived meanings. Specifically, we asked participants to read non-nutritional stories on selected branded food packages, in order to elicit data about received meanings. Packaging has yet to receive due attention in consumer research (Hine, 1995). Until now, attention has focused solely on its utilitarian function and has generated a body of research that has explored the impact of nutritional information and claims on consumer perceptions of products (e.g., Loureiro, McCluskey and Mittelhammer, 2002; Mazis and Raymond, 1997; Nayga, Lipinski and Savur, 1998; Wansik, 2003). An exception is a recent study that turns its attention to non-nutritional packaging narratives and treats them as cultural productions and vehicles for mythologizing the brand (Kniazeva and Belk, 2007). The next step in this stream of research is to explore how such mythologizing activity affects brand personality perception and how these perceptions relate to consumers. These are the questions that our study aimed to address. We used in-depth interviews to help overcome the limitations of quantitative studies. Our convenience sample was formed with the objective of providing demographic and psychographic diversity in order to elicit variations in consumer reflections to food packaging stories. Our informants represent middle-class residents of the US and do not exhibit extreme alternative lifestyles described by Thompson as "cultural creatives" (2004). Nine people were individually interviewed on their food consumption preferences and behavior. Participants were asked to have a look at the twelve displayed food product packages and read all the textual information on the package, after which we continued with questions that focused on the consumer interpretations of the reading material (Scott and Batra, 2003). On average, each participant reflected on 4-5 packages. Our in-depth interviews lasted one to one and a half hours each. The interviews were tape recorded and transcribed, providing 140 pages of text. The products came from local grocery stores on the West Coast of the US and represented a basic range of food product categories, including snacks, canned foods, cereals, baby foods, and tea. The data were analyzed using procedures for developing grounded theory delineated by Strauss and Corbin (1998). As a result, our study does not support the notion of one brand/one personality as assumed by prior work. Thus, we reveal multiple brand personalities peacefully cohabiting in the same brand as seen by different consumers, despite marketer attempts to create more singular brand personalities. We extend Fournier's (1998) proposition, that one's life projects shape the intensity and nature of brand relationships. We find that these life projects also affect perceived brand personifications and meanings. While Fournier provides a conceptual framework that links together consumers’ life themes (Mick and Buhl, 1992) and relational roles assigned to anthropomorphized brands, we find that consumer life projects mold both the ways in which brands are rendered humanlike and the ways in which brands connect to consumers' existential concerns. We find two modes through which brands are anthropomorphized by our participants. First, brand personalities are created by seeing them through perceived demographic, psychographic, and social characteristics that are to some degree shared by consumers. Second, brands in our study further relate to consumers' existential concerns by either being blended with consumer personalities in order to connect to them (the brand as a friend, a family member, a next door neighbor) or by distancing themselves from the brand personalities and estranging them (the brand as a used car salesman, a "bunch of executives.") By focusing on food product packages, we illuminate a very specific, widely-used, but little-researched vehicle of marketing communication: brand storytelling. Recent work that has approached packages as mythmakers, finds it increasingly challenging for marketers to produce textual stories that link the personalities of products to the personalities of those consuming them, and suggests that "a multiplicity of building material for creating desired consumer myths is what a postmodern consumer arguably needs" (Kniazeva and Belk, 2007). Used as vehicles for storytelling, food packages can exploit both rational and emotional approaches, offering consumers either a "lecture" or "drama" (Randazzo, 2006), myths (Kniazeva and Belk, 2007; Holt, 2004; Thompson, 2004), or meanings (McCracken, 2005) as necessary building blocks for anthropomorphizing their brands. The craft of giving birth to brand personalities is in the hands of writers/marketers and in the minds of readers/consumers who individually and sometimes idiosyncratically put a meaningful human face on a brand.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.163-206
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• 2010

Um die Jahrhundertwende des 20. Jahrhunderts besinnt sich Theater als ein Kunstwerk auf seine eigene $Realit{\ddot{a}}t$, $K{\ddot{o}}rper$, Raum und Zeit. Die Existenzweise des Theaterkunstwerks ist $Auff{\ddot{u}}hrung$. Die Kennzeichen der $Auff{\ddot{u}}hrung$ ist Transitorik, Unmittelbarkeit und Ereignishaftigkeit. $Auff{\ddot{u}}hrungsanalyse$ der Theaterwissenschaft als Disziplin wird lange Zeit $vernachl{\ddot{a}}ssigt$, weil $Auff{\ddot{u}}hrung$ ein Opfer der Zeit ist. Angesichts der $Auf{\ddot{u}}hrungsanalyse$ $mu{\ss}$ man eine Invariante zur $Verf{\ddot{u}}gung$ stellen, um einen Gegenstand zu analysieren. Die Inszenierung als ${\ddot{a}}sthetischer$ Gegenstand ist einmalig und unwiederbringlich. Das $B{\ddot{u}}hnengeschehen$ ist materielle $Realit{\ddot{a}}t$, die von dem Zuschauer sinnlich - optisch und akustisch - erfahren wird. Die Inszenierung realisiert sich in 'drei $B{\ddot{u}}hnengestalten$': 'Intendierte $B{\ddot{u}}hnengestalt$', 'realen $B{\ddot{u}}hnengestalt$' und 'vermeinte $B{\ddot{u}}hnengestalt$'. Die $Auff{\ddot{u}}hrung$ konkretisiert sich im Kopf des Zuschauers nicht als eine reale $B{\ddot{u}}hnengestalt$, sondern als ein '${\ddot{a}}sthetisches$ Objekt', 'als Abdruck der $B{\ddot{u}}hnenvorg{\ddot{a}}nge$'. Der Platz des $Auff{\ddot{u}}hrungsanalytikers$ ist der des Zuschauers, des Rezipienten. Die ${\ddot{a}}sthetische$ $B{\ddot{u}}hnengestalt$ ist eine Rekonstruktion der selektiven wahrgenommenden $Auff{\ddot{u}}hrung$, die der 'realen $B{\ddot{u}}hnengestalt$' ${\ddot{a}}hnelt$. Diese Rekonstruktion als neue $Sch{\ddot{o}}pfung$ des Rezipienten ist "Simulacrum", das der dem Objekt $hinzugef{\ddot{u}}gte$ Intellekt ist. Der Begriff der $Auff{\ddot{u}}hrungsanalyse$ wird Synonym $f{\ddot{u}}r$ die Interpretation als hermeneutischer $Proze{\ss}$. $F{\ddot{u}}r$ die Methode der $Auff{\ddot{u}}hrungsanalyse$ gibt es Strukturanalyse und Transformationsanalyse. Strukturanalyse geht $ausschlie{\ss}lich$ von der $Auff{\ddot{u}}hrung$ aus. Transformationsanalyse geht von der Transformation des Textes aus. $F{\ddot{u}}r$ diese Arbeit steht dramaturgische Analyse von Shakespeares Romeo und Julia als erste Grundlage. Die Handlungsentwicklung von Romeo und Julia ist klar in '$f{\ddot{u}}nf$ Akte' eingeteilt, die insgesamt aus 24 Szenen bestehen. Die Gesamthandlung von Romeo und Julia baut sich $pyramidenf{\ddot{o}}rmig$ nach dem Schema der steigenden und fallenden Handlung auf: Exposition/ Ausgangssituation (bis zur ersten Begegnung des Liebespaares auf dem Fest), erregendes Moment als Steigerung (von der Verliebtheit bis zur $Eheschlie{\ss}ung$), Wendepunkt/ Peripetie (Mercutios Tod), retardierendes Moment (Julias Scheintod) und Katastrophe (Vereinigung im Grabe). Die Handlung des $St{\ddot{u}}ckes$ gliedert sich in eine Haupt- und eine Nebenhandlung: dominierend ist die Liebeshandlung zwischen Romeo und Julia, daneben steht die Entwicklung der Fehde zwischen den Familien von Montague und Capulet; sie sind 'sich gegenseitig bedingend, steigernd, hemmend und vernichtend'. Parallelisierung und Kontrast der Figurenkonstellation werden in den jeweils sozial oder im Alter entsprechenden Figuren aus den beiden verfeindeten Familien gezeigt. Die Thematik des $St{\ddot{u}}ckes$ kommt in dem Oxymoron "loving hate" (I.1.175) zum Ausdruck. Shakespeare $l{\ddot{a}}sst$ die Liebeshandlung von Romeo und Julia in der Art der de casibus-$Trag{\ddot{o}}die$ spielen; deren Handlungsmuster ist 'dargestellt im Rad der Fortuna, das einen Menschen $emportr{\ddot{a}}gt$ und wieder $abst{\ddot{u}}rzen$ $l{\ddot{a}}sst$'. Das $St{\ddot{u}}ck$ Romeo und Julia ist eine experimentelle $Trag{\ddot{o}}die$. Es beginnt als $Kom{\ddot{o}}die$ mit $Z{\ddot{u}}gen$ einer Romanze, die sich aus dem Motiv der privaten Liebe und Heirat entwickelt. Pater Lorenzo und die Amme treten mit Lorenzos Wissen von der magischen Kraft der $Kr{\ddot{a}}uter$ und der $Geschw{\ddot{a}}tzigkeit$ der Amme $h{\ddot{a}}ufig$ in der $Kom{\ddot{o}}die$ auf. Die Handlung von Romeo und Julia erreicht mit Mercutios Tod den Wendepunkt, der die komische Welt zur tragischen umwandelt. $F{\ddot{u}}r$ die Sprache gibt es Prosa der Diener wie die Alltagssprache der einfachen Leute und zugleich Verse der Adeligen. Shakespeare verwendet eine kontrastreiche Metaphorik $f{\ddot{u}}r$ Raum und Zeit. Dreimal geschehen am Tag die $K{\ddot{a}}mpfe$ der verfeindeten Familien auf den ${\ddot{o}}ffentlichen$ $Pl{\ddot{a}}tzen$. Der Tag wirft ein Licht auf den Hass und die Gewalt. Die Nacht aber ist die $Sph{\ddot{a}}re$ der Liebe, wo Romeo und Julia ihre heimliche Verbindung verborgen halten $k{\ddot{o}}nnen$. Die Liebenden treffen sich in der Nacht und in dem ummauerten Raum. Oh, Tae-Suks "Romeo und Julia" wird in der Form des Madangguks gestaltet. Die Handlung in Oh, Tae- Suks Textfassung ist also nicht nach dem Prinzip der $Kausalit{\ddot{a}}t$ und Folgerichtigkeit zu lesen wie im Shakespeare-Drama. Wegen dem Ignorieren der $Kausalit{\ddot{a}}t$ des Handlungsablaufes und dem Fehlen der Motivation der Handlung ergibt sich hier keine individuelle psychologische Figurencharakterisierung. Die Figuren sind typisiert. Die koreanische Textfassung mit den extremen textlichen $Verk{\ddot{u}}rzungen$ und den zwei szenischen $Hinzuf{\ddot{u}}gungen$ $pr{\ddot{a}}gt$ die Inszenierung dahingehend, dass an die Stelle der Wortsprache mehr $K{\ddot{o}}rpersprache$ und szenische Bilder treten. Die langen Sprechpartien der Figuren im Shakespeare-Drama werden meistens $gek{\ddot{u}}rzt$ und $beschr{\ddot{a}}nken$ sich entweder auf Informationen ${\ddot{u}}ber$ die Situation oder zur Handlungsentwicklung. Und der Handlungsablauf erfolgt in Episoden sowie Musik, Lied und Tanz; Musik, Lied und Tanz dienen einerseits dem ${\ddot{U}}bergang$ der Szenen, sind aber andererseits auch selbst Teil des Handlungsablaufs. $W{\ddot{a}}hrend$ Shakespeare die Sprache der $W{\ddot{o}}rter$ in den Vordergrund $r{\ddot{u}}ckt$, $st{\ddot{u}}tzt$ Oh, Tae-Suk sich mehr auf die Sprache des $K{\ddot{o}}rpers$, die ja zugleich bildhaft ist. $Daf{\ddot{u}}r$ nimmt die Inszenierung Tanz und Lieder. Oh, Tae-Suks Inszenierung entwirft Shakespeares $Trag{\ddot{o}}die$ in der Form des Madangguks als Spiel und zugleich als erkennentnisorientiertes, nachdenkliches Theater $f{\ddot{u}}r$ den koreanischen Zuschauer, das dem traditionellen koreanischen Theater als Unterhaltungstheater nicht $m{\ddot{o}}glich$ ist, in dem sich das Volk von der Wirklichkeit erleichterte und sich $vergn{\ddot{u}}gte$. Oh, Tae-Suk formt das Publikum zum 'Wir' und zugleich zum 'Ich'. Mit dem Zusammensein der $v{\ddot{o}}llig$ andernen Theaterkulturen schafft der Reigisseur das hybride Theater und dadurch bildet $f{\ddot{u}}r$ die moderne koreanische Gesellschaft eine neue kulturelle $Identit{\ddot{a}}t$ heraus.

• Journal of the Korean Wood Science and Technology
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• v.6 no.2
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• pp.3-19
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• 1978

Five species, Abies koreana Wilson (A. koreana), Castanopsis cuspidata var. Sieboldii Nakai (C. Cuspidata). Machilus thunbergii Sieb. et Zucc. (M. thunbergii), Styrax japonica (S. japonica), and Quercus acuta Thunberg(Q. acuta) growing in the southern part of Korea were selected for the investigation of wood properties. In order to evaluate the wood properties of these five species, anatomical, physical, mechanical, chemical and pulping characteristics were investigated. And this study also covered wood technological problems related to the drying, gluing, debarking, flooring, and wood workability so that these species might serve to the best advantage. The results obtained were summarized as follows: 1. The trunk of A. koreana with many knots was straight. However, the trunks of S. japonica and C. cuspidata were crooked. 2. A. koreana showed the longest and the widest ill the fiber morphology; 2.97mm in length, 39.3${\mu}$ in width. In general, fiber width of all the species investigated were greater than those of other Korean hardwoods. 3. The specific gravity of Q. acuta was 0.74${\pm}$0.03, and that of A.koreana was 0.34${\pm}$0.02. The range of specific gravity of the other species was 0.47-0.52. 4. The adsorption of water was propotioned inversely with the specific gravity, but the adsorption of humidity was proportioned with the specific gravity. In spite of their medium density, S. japonica showed the greatest adsorption, and M. thunbergii the least. The water adsorption of cross section was twice greater than that of lateral direction, and there was a slight difference in between the radial and the tangential direction. 5. Shrinkage for tested five species was ranged from 5.36 to 10.24% in tangential direction, and 2.83~6.13% in radial direction. Q. acuta recorded the greatest shrinkage rate, and A. koreana the least. The greater was the specific gravity, the larger was the shrinkage rate. 6. The mechanical properties of Q. acuta were similar to those of Quercus mongolica which grow in Kangwon-Do. Strength properties of C. cuspidata, M. thunbergii, A. koreana were equivalent to those of other Korean commercial woods with similar specific gravity, except S. japonica which showed slightly higher strength than that of other species with similar density. 7. Higher glue joint strength for urea and phenol adhesieves was recorded in the species of M. thunbergii and C. cuspidata, however, high-density species(Q. acuta) and even low-density species(A. koreana) did not show good joint strength. 8. The attractive figure of M. thunbergii in texture seemed to he appreciated for decoration. And the grain and texture of other species were proper for furniture and building materials. 9. All of the species except Q. acuta were considered good for wood workability. 10. The denser the specific gravity was, the longer the drying time took. However, severe drying defects were formed in M. thunbergii whose density was medium. 11. All the species were considered suitable for the flooring wood expect A. koreana whose density was light. 12. Pentosan component in all the species was great, and the amount of extractives in Q. acuta was worth noticing. 13. Yield in kraft pulp was above the level of economic pulp yield, i.e. 45% in all species. 14. Debarking was easy in the species of A. koreana and M. thunbergii, and debarking after being boiled in water was the most efficient in all species.