• The tire
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• s.154
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• pp.4-10
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• 1991

이 글은 우리나라 타이어업계의 원로인 필자가 그동안 모아온 귀중한 자료를 토대로 우리나라 타이어공업의 발전과정을 역사적인 측면에서 재조명해본 것이다. 필자는 우리나라가 일제의 식민통치로부터 해방된 해인 1945년 12월 조선타이어(한국타이어측신)에 입사한 이래 흥아타이어(우성타이어 전신)와 한국타이어제조(주)를 거쳐 1978년 8월 동신화학공업(주)의 기술이사를 끝으로 타이어 세계를 떠나기까지 우리나라 타이어공업발전에 많은 기여를 해온 분이다. 이번 호에서 그 첫 번째로 우리나라에 타이어공업이 도입된 1941년부터 1950년 6·25사변이 일어나기 전까지의 우리나라 타이어공업의 발전과정을 소개하고, 그 이후의 것은 원고가 입수되는 대로 연재해 나갈 예정이다.

• The monthly packaging world
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• s.169
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• pp.50-52
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• 2007

REACH는 지속가능한 화학물질관리의 기본 축이 되는 법령으로서 현재 및 미래 세대의 건강과 환경을 보존하는 동시에 화학산업의 경쟁력을 높이기 위해 제정된 유럽연합의 신 화학물질 통합관리 제도이다. 신화학물질 관리정책의 핵심인 REACH 제도는 2003년 10월 EU지뱅위원회(안)이 발표된 후 3년여 간의 토론을 거친 수정안이 2006년 12월 18일 EU이사회에서 만장일치로 최종 채택되었다. 2006년 11월~12월 2차 독회와 표결을 거쳐 REACH 최종법령은 2007년 6월부터 시행됨에 따라 EU와 주요 국가의 산업체가 긴박하게 움직이고 있는 상황이다. 본 고에서는 REACH 제도 도입 배경 및 최근 국제 동향에 대해 살펴보도록 한다.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.2
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• pp.57-79
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• 2001

[Go-Choseon], the first volume of Samgukyusa, is composed of two parts, the part of myth and that of history. There are very similar divinities between Hwanwoong in the myth of Dangun and YanDi-ShenNong of China: the solar divinity essential for survival of mankind and agriculture, the agriculture divinity said to have taught fanning, the medicine divinity said to have taught the characteristics of herbs and how to prevent diseases, the cultural hero who delivered civilization, and son on. During the transition from the age of myth to the age of history, the roles of gods had changed from the creation of the world to civilization and rule. The roles of Hwanwoong and YanDi-ShenNong were civilization and it was related with their divinities. Hence, regardless of a little difference, the myth of Hwanwoong and that of YanDi-ShenNong were created at the same stage of spiritual and material civilizations of Korea and China. This paper looks at the essence of [Wiseo] and the age of Hwanwoong through historical records. In my opinion, [Wiseo] is not a chinese history' book. The record, "According to [Wiseo] there had been Dangun-Wanggum 2,000 years ago" indicates the time [Wiseo] was written. 'Wi' means Wlman-choseon. Going back about 2,000 years from Wiman-choseon, the historical dates of the establishment of [Go-Choseon] almost dovetails to the age of King 'lao. So, there is a possibility that [Wiseo] is a history book of Wiman-Choseon dynasty which was written to prove the legitimacy of the dynasty by showing it succeeded to the Dangilll-Choseon dynasty. The sentences, "governed the country for 1,500 years" and "conferred Gija the position of king of Choseon" are very important records showing the age of the establishment of Dangun-Choseon. Gija came to Choseon in B.C 1122 when Yin replaced Zhou in the Choinese Continent. From the fact that Dangun had governed Choseon, we could reason out that Go-Choseon was established in B.C. 2622 that is much eariler than the era of king Yao, and that corresponds 'With the era of HuangDi(B.C 2698-2358). Hence, the era of Hwanwoong, the father-god of Dangun, might be later than B.G 3000 which conforms to the era of YanDi-ShenNong(B.C 3218-2600). Therefore, this paper contends lhat Hwanwoong and YanDi-ShenNong played the role of civilization in the same era [Go-Choseon], the first volume of Samgukusa is philologically very valuable material for research on the origin of Korean nation and its ancient history.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.

• Cross-Cultural Studies
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• v.51
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• pp.235-256
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• 2018

The purpose of this study is to compare the academic achievements of these two eras with the content and performance of the bronze ware decorative patterns in the Song dynasty and age of the Minguo. We investigated the origins and developmental process of the bronze ware decorative pattern research in Chinese bronze research history and examined their academic value. Studying bronze ware is a scholarly study. In the past, research focused on classifying letters on bronze ware. However, research on bronze ware decorative patterns was neglected. Bronze ware decorative patterns are associated with archeology and mythology studies and provide important clues as to the imagination of ancient people. The study of bronze ware in China began with the Song dynasty. Since then, research on bronze ware has been revived in the Qing dynasty, although there has been no academic achievement regarding bronze ware decorative patterns. However, at the age of the Minguo, the achievements of bronze ware decorative patterns continued to follow the Song dynasty.

• Journal of the Korean Institute of Electrical and Electronic Material Engineers
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• v.32 no.5
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• pp.376-381
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• 2019

In this work, we evaluated the structural, electrical and optical properties of $Ge_8Sb_2Te_{11}$ and Cu-doped $Ge_8Sb_2Te_{11}$ thin films prepared by rf-magnetron reactive sputtering. The 200-nm-thick deposited films were annealed in a range of $100{\sim}400^{\circ}C$ using a furnace in an $N_2$ atmosphere. The amorphous-to-crystalline phase changes of the thin films were investigated by X-ray diffraction (XRD), UV-Vis-IR spectrophotometry, a 4-point probe, and a source meter. A one-step phase transformation from amorphous to face-centered-cubic (fcc) and an increase of the crystallization temperature ($T_c$) was observed in the Cu-doped film, which indicates an enhanced thermal stability in the amorphous state. The difference in the optical energy band gap ($E_{op}$) between the amorphous and crystalline phases was relatively large, approximately 0.38~0.41 eV, which is beneficial for reducing the noise in the memory devices. The sheet resistance($R_s$) of the amorphous phase in the Cu-doped film was about 1.5 orders larger than that in undoped film. A large $R_s$ in the amorphous phase will reduce the programming current in the memory device. An increase of threshold voltage ($V_{th}$) was seen in the Cu-doped film, which implied a high thermal efficiency. This suggests that the Cu-doped $Ge_8Sb_2Te_{11}$ thin film is a good candidate for PRAM.

• 기호학연구
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• no.54
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• pp.93-117
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• 2018

The process of creating Hunminjeongeum described in Haerye version of Hunminjeongeum shows a rule of signification by which a signifiant represents a referent. In this article, I will suggest two types, the mythical and the anti-mythical, that affect the iconic relation between signifiant and referent, and consider how they are realized in Hunminjeongeum. The mythical type is shown as Yin-Yang and the Five Elements Theory and Three Elements Theory of Heaven, Earth and Man dominating the thought of intellectuals at that time. It had became mythos, that is the object of absolute belief, by connecting with the power of King at that time. It is very metaphysical and involves a kind of grand narrative. It is also the voice from the past in time and from China in space. It is reflected in Hunminjeongeum's letter system intactly. Meanwhile, the anti-mythical type also affects the creation of Icon in Hunminjeongeum. Even if Hunminjeongeum had been created from King Sejong's project, its intention seemed to be educational and practical. That is the problem of that time, not of past time, and for common class, not for ruling class. It can be considered as logos in that it had been planned and processed at a real-life situation at that time. Some arguments between King Sejong and liege Choi, Manri about the validity of Hunminjeongeum also show that the creation of Hunminjeongeum had involved the problem of critical logos. Above all, in that referents of Icons of Hunminjeongeum are the figures of human vocal organs, we can suggest that these Icons also implied an Indexicality implying actual connection between voice and body. It can be considered as a deconstrucion of metaphysics and grand narrative that had been dominated by foresaid mythical type. Hereafter, from time when Hunminjeongeum have been widely used, mythos of metaphysics and grand narrative that had dominated Hunminjeongeum have been deconstructed and Hunminjeongeum has become to realize its potential competence of pragmatic sign system for the convenience of common people. Therefore, I expect that the cultural potentiality of Hangul today can be realized by such tendency of logos incessantly deconstructing mythos, that is one direction of mythosemiosis.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Journal of the Korean Institute of Gas
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• v.25 no.5
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• pp.37-51
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• 2021

The pressure drop phenomenon that occurs when the same flow rate is supplied to the gas regulator was analyzed. The regulator moves the position of the piston through the interaction of the force acting on the upper and lower parts of the piston and the spring tension to release the pressure of a specific range in a specific environment as constant pressure, thereby maintaining the pressure. The flow characteristics and pressure control process of the regulator were investigated through a numerical analysis technique as the volume of the fluid inside the regulator changed. As the gap between the piston and the piston seat decreased, the pressure drop increased and the flow velocity increased. It was verified through numerical analysis that the piston was positioned at 0.12mm under the same conditions as the pressure-flow test (inlet pressure 3MPa, outlet pressure 0.8MPa, flow rate 70kg/h).

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".