• 한국지구물리탐사학회:학술대회논문집
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• 2002.09a
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• pp.139-162
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• 2002

Since weak zones or geological lineaments are likely to be eroded, weak zones may develop beneath rivers, and a careful evaluation of ground condition is important to construct structures passing through a river. Dc resistivity surveys, however, have seldomly applied to the investigation of water-covered area, possibly because of difficulties in data aquisition and interpretation. The data aquisition having high quality may be the most important factor, and is more difficult than that in land survey, due to the water layer overlying the underground structure to be imaged. Through the numerical modeling and the analysis of case histories, we studied the method of resistivity survey at the water-covered area, starting from the characteristics of measured data, via data acquisition method, to the interpretation method. We unfolded our discussion according to the installed locations of electrodes, ie., floating them on the water surface, and installing at the water bottom, since the methods of data acquisition and interpretation vary depending on the electrode location. Through this study, we could confirm that the dc resistivity method can provide the fairly reasonable subsurface images. It was also shown that installing electrodes at the water bottom can give the subsurface image with much higher resolution than floating them on the water surface. Since the data acquired at the water-covered area have much lower sensitivity to the underground structure than those at the land, and can be contaminated by the higher noise, such as streaming potential, it would be very important to select the acquisition method and electrode array being able to provide the higher signal-to-noise ratio data as well as the high resolving power. The method installing electrodes at the water bottom is suitable to the detailed survey because of much higher resolving power, whereas the method floating them, especially streamer dc resistivity survey, is to the reconnaissance survey owing of very high speed of field work.

• Nuclear Engineering and Technology
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• v.26 no.1
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• pp.126-139
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• 1994

Best-estimate thermal-hydraulic codes, CATHARE2 V1.2 and RELAP5/MOD3, hate been assessed against the BETHSY 6.2 tc six-inch cold leg break loss-of-coolant accident (LOCA) test. Main objective is to analyze the overall capabilities of the two codes on physical phenomena of concern during the small break LOCA i.e. two-phase critical flow, depressurization, core water level de-pression, loop seal clearing, liquid holdup, etc. The calculation results show that the too codes predict well both in the occurrences and trends of major two-phase flow phenomena observed. Especially, the CATHARE2 calculations show better agreements with the experimental data. However, the two codes, in common, show some deviations in the predictions of loop seal clearing, collapsed core water level after the loop seal clearing, and accumulator injection behaviors. The discrepancies found from the comprision with the experimental data are larger in the RELAP5 results than in the CATHARE2. To analyze the deviations of the two code predictions in detail, several sensitivity calculations have been performed. In addition to the change of two-phase discharge coefficients for the break junction, fine nodalization and some corrections of the interphase drag term are made. For CATHARE2, the change of interphase drag force improves the mass distribution in the primary side. And the prediction of SG pressure is improved by the modification of boundary conditions. For RELAP5, any single input change doesn't improve the whole result and it is found that the interphase drag model has still large uncertainties.

• Bulletin of the Society of Naval Architects of Korea
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• v.61 no.1
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• pp.16-29
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• 2024

2014년 4월 18일 오전 8시 48분경 전라남도 병풍도 인근 해역에서 세월호는 전복된 후 침몰하였다. 사고 당시 이 배에는 승객 443명과 선원 및 승무원 33명 모두 476명이 타고 있었고, 이 중 미수습자 5명을 포함하여304명이 생명을 잃었다. 그 동안 공식적인 사고원인 규명활동이 꾸준히 진행되어 이 사고의 원인을 규명하기 위한 조사가 네 차례 있었다. 하지만 아직까지 사고 원인이 무엇인지 명쾌하게 밝혀지지 않고 있다. 이 글에서는 먼저 그동안 있었던 네 차례의 공식적인 세월호 사고원인 규명활동을 정리하였다. 가장 먼저 사고원인 규명활동을 전개한 해양안전심판원 특별조사부는 2014년 사고 직후부터 그해 12월까지 활동하였다. 특별조사부 최종보고서에는 화물의 과적과 평형수 적재 부족으로 인한 선박복원성 기준 미달, 타각의 대각도 조타와 장시간 유지로 인한 부적절한 조타, 화물의 부실한 고박으로 인한 화물의 이동, 수밀문의 관리 부실로 인한 조기 침수와 비상대피장소(muster station)로의 승객대피 조치 미이행을 사고의 원인으로 들고 있다. 2015년 3월부터 2016년 6월까지 활동한 4·16세월호참사 특별조사위원회(특조위)는 '4·16 세월호 참사 특별 조사위원회 청산 백서'만을 간행하고 최종보고서를 제출하지 못한 채 활동을 종료하였다. 세월호 선체조사위원회(선조위)는 2017년 4월부터 2018년 8월까지 활동하였다. 선조위는 세월호 사고원인 규명을 위한 다른 기구에 비해 위원의 구성도 균형이 있었고, 직권사건 위주의 조사방법도 적절하였다. 또한 조타기와 조타 과실 여부, 급선회 항적 및 횡경사와 핀안정기의 물리적 손상에 관한 용역을 국내 여러 기관에 발주하였다. 뿐만 아니라 다양한 해양사고 원인규명 용역에 참여한 실적이 있는 영국의 기술용역회사인 Brookes Bell에 급선회와 빠른 침몰의 원인 조사를 요청하였다. 아울러 세계에서 가장 활발히 수조실험을 수행하고 있는 상업 연구소인 네덜란드의 MARIN에 수조시험과 시뮬레이션도 의뢰하였다. 하지만 아쉽게도 선조위는 서로 다른 사고 원인을 주장하는 두 권의 종합보고서를 간행하였다. 종합보고서로 '내인설' 종합보고서[6]는 타기 솔레노이드 밸브의 고착으로 시작된 급선회를 사고의 직접 원인으로 지목하고 있다. 하지만 '열린안' 종합보고서[7]에서는 수중체와의 충돌을 직접적인 사고 원인으로 밝히고 있다. 마지막으로 가습기살균제 사건과 4·16세월호 참사 특별조사위원회(사참위)가 2019년 3월부터 2022년 9월까지 활동하였다. 사참위는 위원으로 조선해양공학과 항해학 전문가가 포함되어 있지 않아 세월호의 사고원인 규명활동을 효과적으로 수행하기에는 적절하지 못하였다. 사참위는 주로 조타장치 고장에 따른 세월호 전타 선회현상 검증, 세월호 변형 손상부의 확인 및 원인 조사와 세월호 횡경사 원인과 침수과정 분석을 직권 과제로 추진하였다. 또한 네덜란드 MARIN에 자유항주시험을 추가로 의뢰하였으며, 핀란드의 NAPA group에도 복원성 계산과 침수해석을 의뢰하였다. 사참위는 선조위의 두 가지 사고원인에 대해 '내인설'의 솔레노이드 밸브 고착은 사고원인일 가능성이 매우 낮고, '열린안'의 수중체와의 충돌 시나리오는 근거가 부족함을 확인하였다. 이상에서 정리한 바와 같이 규명활동이 진행됨에 따라 사고원인이 수렴되어야 함에도 불구하고 아직까지 원인을 시원하게 밝히지 못하고 있다. 이 글에서는 사고원인 규명활동을 수행한 네 개 기구의 구성과 활동 내용을 비교하고, 사고조사 위원회의 바람직한 구성과 위원회의 운영 방법을 제시하고 있다. 또한 Brookes Bell 보고서에 수록된 출항 당시의 흘수에 근거한 배수량과 선미 램프의 폐쇄 전후의 횡경사각으로부터 도출한 GoM도 소개하고 있다. 아울러 출항 당시의 GoM값으로 추정한 사고 당시의 GoM값도 소개하고 있고, 수중체와의 충돌 시나리오를 후보 사고 시나리오에서 제외시켜야 할 이유도 열거하고 있다. 끝으로 해양사고 원인규명 활동이 보다 과학적으로 그리고 보다 합리적으로 이루어질 수 있기 위해 그리고 우리 사회의 안전문화 제고를 위한 몇 가지의 방안을 제시하고 있다. 또한 세월호 사고로 치른, 아직도 치르고 있는 희생을 딛고 해양안전문화가 한 걸음 더 나아가기 위해서는 세월호 사고의 원인을 반드시 규명해야 한다는 말씀으로 글을 마무리하고 있다.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.