• Transactions of the Korean Society of Mechanical Engineers A
• /
• v.30 no.2 s.245
• /
• pp.171-178
• /
• 2006

Experimental and theoretical study of the non-planar response motions of a circular cantilever beam subject to base harmonic excitation has been presented in this paper work. Theoretical research is conducted using two non-linear coupled integral-differential equations of motion. These equations contain cubic linearities due do curvature term and inertial term. A combination of the Galerkin procedure and the method of multiple scales are used to construct a first-order uniform expansion for the case of one-to-one resonance. The results show that the non-linear geometric terms are very important for the low-frequency modes of the first and second mode. The non-linear inertia terms are also important for the high-frequency modes. We present the quantitative and qualitative results for non-planar motions of the dynamic behavior.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
• /
• 2005.11a
• /
• pp.690-695
• /
• 2005

Flexible circular cantilever beams when excited externally introduce a lot of dynamic characteristics. The non-linear elements that these flexible beams develop include non-linearity due to inertia terms, spring, and damping. They show different characteristics of motion from each other. In the modes of lower order, the non-linearity due to spring is prevalent, while the non-linearity due to inertia Is prevalent in the modes of higher order. To analyze these effects the non-linear phenomena are analyzed experimentally. When the response characteristics of non-linear vibration are analyzed using autospectrum, it is possible to analyze the subharmonic and superharmonic mot ion by comparison. The phase change is analyzed using the method of phase portrait and the non-linear characteristics of response characteristics that are developed in flexible structures can be predicted and applied to the stage of design.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.7
• /
• pp.287-298
• /
• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.

• The Journal of the Korea Contents Association
• /
• v.14 no.4
• /
• pp.67-77
• /
• 2014

This study focuses on clarifying narrative strategy of the epilogue system of TV nature documentary. TV nature documentary epilogue system is different from making film. Because it has stories about production team's daily life and incidents while they make films in nature. Therefore, TV documentary epilogue system has distinctive narrative features comparing to the documentary itself. This study analyzes into the distinctive narrative features of TV documentary epilogue system. According to Frye, there are four types of narrative based on narrative structure. 'The tears of Antarctica' has achieved reconciliation between nature and human by it's narrative structure of comic romance and comic character. Therefore, comic romance's narrative features of TV documentary epilogue system overcomes tragic features of the documentary itself.

• Korean Journal of Materials Research
• /
• v.9 no.3
• /
• pp.257-262
• /
• 1999

The selective area growth of GaN by metal organic chemical vapor deposition has been carried out on GaN/ sapphire substrate using $SiO_2$ mask. We investgated the effect of growth parameters such as flow rate of $NH_3$(500­~1300sccm) and the growth temperature(TEX>$950~1060^{\circ}C$) on the growth selectivity and characteristics of GaN using the Scanning Electron Microscopy(SEM). The selectivity of GaN improved as flow rate of NH, and growth temperature in­creased. But the grown GaN shapes on the substrate windows was independent of the flow rate of $NH_3$. On the pattern shapes such as circle, stripe, and radiational pattern(rotate the stripe pattern by $30^{\circ}, 45^{\circ}$), we observed the hexagonal pyramid, the lateral over growth on the mask layer, and the difference of the lateral growth rate depending on growth condition.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.217-247
• /
• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Korean journal of communication and information
• /
• v.59
• /
• pp.116-137
• /
• 2012

What is 'nation' and 'nationalism?' What does 'korean nationalism' mean? And how is korean nationalism represented through a chain of films called 'the korean blockbuster films?' The purpose of this study is to answer to these questions. The characteristics of the korean blockbuster films have been studied for quite a long time and the researchers have agreed with the context about nationalism in a large sense. However, majority of the studies ends up in the journalistic or impressionistic criticism without any theoretical discussion. Few theoretical criticisms also have founded on the formation process of nation of the Western Europe and their nationalism. Hence I would like to add the discourse of korean nationalism and to seize more accurately the social/cultural/historical peculiarity of the korean blockbuster films. In addition, as non-nationalist narratives have recently emerged, korean blockbuster films are entering to the evolution process. On this, the significance of this study seems to exist in providing a cornerstone to the expected evolution theory of the korean blockbuster films by means of complementation and reestablishment of nationalism of their first generation. and , presenting socio-historical peculiarity of the Korean nation, are examined by the close textual analysis.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.71-106
• /
• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.