• Clean Technology
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• v.25 no.4
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• pp.316-323
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• 2019

In order to enhance combustion efficiency and reduce atmosphere pollutants, it is essential to measure carbon monoxide (CO) concentration precisely in combustion exhaust. CO is the important gas species regarding pollutant emission and incomplete combustion because it can trade off with NOx and increase rapidly when incomplete combustion occurs. In the case of a steel annealing system, CO is generated intentionally to maintain the deoxidation atmosphere. However, it is difficult to measure the CO concentration in a combustion environment in real-time, because of unsteady combustion reactions and harsh environment. Tunable Diode Laser Absorption Spectroscopy (TDLAS), which is an optical measurement method, is highly attractive for measuring the concentration of certain gas species, temperature, velocity, and pressure in a combustion environment. TDLAS has several advantages such as sensitive, non-invasive, and fast response, and in-situ measurement capability. In this study, a combustion system is designed to control the equivalence ratio. Also, the combustion exhaust gases are produced in a Liquefied Petroleum Gas (LPG)/air flame. Measurement of CO concentration according to the change of equivalence ratio is confirmed through TDLAS method and compared with the simulation based on Voigt function. In order to measure the CO concentration without interference from other combustion products, a near-infrared laser at 4300.6 cm^-1 was selected.

• Journal of Korean Philosophical Society
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• no.119
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• pp.129-159
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• 2017

The study of Freud's Moses and the background of the establishment of monotheism has become a subject of attention in the new atmosphere of the spreading of political theology and the recent rediscovery of Egyptology. This paper examines the publishing background and intentions of Freud's last book, Moses and Monotheism. And it will emphasize the fact that the Moses-Egyptian theory and his criticism of monotheism hid political theological intentions to prevent the spread of anti-Semitism in Nazi Germany. According to the Egyptologist Jan Assmann, there is a difference in that Moses' Judaism is monotheism, but Akhenaten's Aton-religion is a cosmotheism, and while Freud emphasizes Moses the 'historical figure' of that name, Assmann refers to Moses as a 'mnemohistorical figure.' Just as Freud said that the source of Jewish hatred is in Moses himself who established monotheism, Assmann argues also, monotheism is based on the so-called "Mosaic distinction" that distinguishes between true religion and false religion, thus it is possible to dismantle oppression and violence through the abolition of the Mosaic distinction. Assmann estimates that Freud had a clear stance to stop the spread of anti-Semitism as "the most explicit opponent of the Mosaic distinction." While anti-Semitic hatred spread to Christians in the Nazi era, Freud regards the real founder of Christianity, a jew Paul, as both a "Judaism destroyer" and a "successor to Judaism." At this point, Taubes began to see Paul's theology from a political theological point of view, and Assmann succeeded it. The "historical Moses" described by Freud are not "Prophet Moses" but "Moses as lawmaker and political reformer", and Jewish hatred has arisen in his distinction. Thus, Freud's monotheistic criticism as "disintegration by historical reduction"(Nietzsche) has political theological power. Just as Taubes interpreted Paul as a political theologian, Assmann found political theological elements in Freud's criticism of monotheism.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.