• Journal of Korean Society of Steel Construction
• /
• v.25 no.4
• /
• pp.335-346
• /
• 2013

AASHTO LRFD and Korean Bridge Design Code (Limit State Design) specify to consider Truck and Lane load simultaneously determined from reliability-based live load model, and impact shall be applied to the truck load while it shall not be applied to the lane load. In this paper, vehicle-bridge interaction analysis under moving truck and lane loads were performed to estimate impact factor of the cables and girders for the selected multi-cable-stayed composite bridges with 230m, 400m and 540m main span. A 6-d.o.f. vehicle was used for truck load and a series of single-axle vehicles was applied to simulate equivalent lane load. The effect of damping ratio on the impact factor was estimated and then the essential parameters to impact factor, i.e., road surface roughness and vehicle speed were considered. The road surface roughness was randomly generated based on ISO 8608 and it was applied to the truck load only in the vehicle-bridge interaction analysis. The impact factors evaluated from dynamic interaction analysis were also compared with those by the influence line method that is currently used in design practice to estimate impact factor in cable-stayed bridge.

• Journal of the Korean association of regional geographers
• /
• v.10 no.3
• /
• pp.497-510
• /
• 2004

This study searched for comparison with geography of Qing China, origin of geographical name, people's feature and costume, description on regional geography, and perception on locality on view of a geographer, Ji-Won Park, a renowned Korean scholar of practical learning on the late 18th century. This study on the first three chapters of his Yorha Ilgi - "Crossing the Amnok(Yalu) River("渡河錄")," "Several Records on Senyang("監京雜識")," and "Writing Essays, Riding Horses("馹迅隨筆")," focusing on landscape of Qing China, inquiry on geographical name, feature and costume, and descriptions on locality, gives a glimpse on Park's geographical view on geography of Qing China. His writing style to compare landscapes between Korea and Qing China, full of his love for Korean landscape, is very delicate and clear, Although he sentimentalized when he passed through Bonghwang-castle(鳳凰城) in China, his subtle and beautiful writing explains that land and mountains in Han-yang(Seoul) are much more wonderful than those in China. His vivid depiction of landscape and weather on his way in Qing China is remarkable and explanation on geographical names like Parhae(渤海), Yoha(遼河), Taejaha(太子河), Senyang(瀋陽) etc. is enough to stimulate readers' curiosity on geography.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.219-255
• /
• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.