• Journal of the Korean Geotechnical Society
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• v.30 no.9
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• pp.41-55
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• 2014

In performing seismic analysis of tunnels, it is a common practice to ignore the rock joints and to assume that the rock mass surrounding the tunnel is continuous. The applicability of this assumption has not yet been validated in detail. This study performs a series of pseudo-static discrete element analyses to evaluate the effect of rock joint on the seismic response of tunnels. The parameters considered are joint intersection location, joint spacing, joint stiffness, joint dip, and interface stiffness. The results show that the joint stiffness has the most critical influence on the tunnel response. The tunnel response increases with the spacing, resulting in localized concentration of moment and shear stress. The response of the tunnel is the lowest for joints dipping at $45^{\circ}$. This is because large shear stresses result in rotation of the principal planes by $45^{\circ}$. In summary, the weathered and smooth, vertical or horizontal, and widely spaced joint set will significantly increase the tunnel response under seismic loading. The tunnel linings are shown to be most susceptible to damage due to induced shear stress, and therefore should be checked in the seismic design.

• Strategy21
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• s.46
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• pp.205-238
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• 2020

The origin of mission command can be traced to the era of the Prussian military reforms led by General Gerhard von Scharnhorst after defeats in battle of Jena and Auerstadt in 1806 against Napoleon I. Mission Command is the conduct of military operations through decentralized execution based upon mission-type orders. Commanders issue mission-type orders focused on the purpose of the operation rather than details of how to perform assigned tasks. The mission command has become the command philosophy of the German military and recently many countries in the west accept it as a command philosophy. This study compare and analyze the Battle of St. Vincent and the Battle of Jutland to make sure if the army-initiated mission commands were also useful for the navy. From the late 18th century, represented by the era of Nelson, Royal navy changed from the inherited rigid command culture to guaranteeing the disciplined initiative of its subordinate commanders. In the Battle of St. Vincent in 1797, Nelson acted contrary to the commander's orders at the crucial moment, which gave Britain a decisive victory. On the contrary more than 100 years later, the command culture of the Royal navy changed into a centralized command culture. In the Battle of Jutland in 1916, Royal Navy couldn't win because the rigid command culture did not guarantee initiative of subordinate commanders and subordinate commander's passive attitude of waiting for the commander's instructions even at critical moments. Therefore, a mission command that guarantees the initiative of subordinate commanders is a useful concept even in the navy because it makes subordinate commanders to take full advantage of a sudden change in battle. Today's advanced information and communication technologies have raised questions about mission command. But even advanced technology can't completely eliminate the fundamental nature of the war-the fog of war. War is chaotic and unpredictable. In the flood of lots of informations, senior commander's judgement is not always right because he(she) is also human, he(she) can make mistakes. In the age of informatization, mission command is still effective because it involves increasing interaction and synergy between senior and subordinate commanders by ensuring their independence. Therefore ROK navy also needs to activate mission command. ROK navy must dismantle the zero-defect mentality and apply from educations as Prussian did to establish a mission command culture.

• Journal of the Korean Society of Food Science and Nutrition
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• v.35 no.8
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• pp.1088-1096
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• 2006

The purpose of this study was to identify the service encounter blueprint by types of restaurants in order to manage moment of truth when customers who visit a restaurant encounter services. The service encounter blueprint gives an overall picture of the service provision to visualize an entire service process and its integrated structure. The blueprint is used for service process analysis technique. The random samples of 15 customers were observed by types of restaurants and the records were collected for three-days' observation. Interviews were performed by 3 managers, 3 service encounter employees, 3 cashiers, 3 cooks and 10 customers by types of restaurants. After drawing the first service blueprint, it was revised by the interview with the 3 managers and 6 service encounter employees. In this paper, restaurant service processes are reviewed and analyzed. By use of service blueprint, the processes are analyzed to find a fail point, customer wait, employee decision. As a result of making a blueprint of service encounter by types of restaurant, blueprints of fine-dining restaurants and family restaurants were similar, while fast-food restaurants showed a little difference. In particular, difference was indicated in a point where interaction of service encounter occurred. Difference was indicated depending on types of restaurants. Therefore, the efforts to improve this problem were needed. The blueprint is a map or flowchart (called a process chart in manufacturing) of all transactions constituting the service delivery process. The results showed that service encounter blueprint can be used to improve the service process in the restaurant's encounter.

• Cross-Cultural Studies
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• v.30
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• pp.7-29
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• 2013

A movie which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

• Journal of Korean Philosophical Society
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• v.142
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• pp.75-97
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• 2017

This study purpose is to discuss critically the conception of history in Hegel and Marx by drawing on Merleau-Ponty's existential theory of history, finishing with concluding remarks. Merleau-Ponty insists that history is always history experienced. This thesis is his own principle in investigating human history. From this perspective, he begins to flesh out problems with history which Hegel and Marx had understood idealistically and materialistically respectively. He criticised that if Hegel grasps history in terms of teleology, he failed to explain the source and origin of historical meaning from which history makes sense. He failed to think that what gives history meaning comes from embodied consciousness. This means that history is not made of dialectical thinking. The thing is different from such an imaginative construal. History as it stands is not like that. It is not running around like Hegelian dialectical thinking. Marx understood historical behavior wrongly when he explained class struggle in terms of productive relations. He disregarded how class was sedimented or embodied in the minds of proletarians. Owing to this, Marx could not suppose that class consciousness is determined not causally or externally but by incarnated experience. It is affected in so far as it is affected by somebody, that is, the worker. At that moment only Class consciousness begins to work. Marx did not catch sight of this hidden fact.

• Proceedings of the KSR Conference
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• 2008.11b
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• pp.993-999
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• 2008

A girder height limitation is the critical parameter for rapid construction of bridge deck and construction space limitation especially in urban area such as high population area and high density habitats. A standard post-tensioned I-shaped concrete girder usually demands relatively higher girder height in order to retain sufficient moment arm between compression force and tensile force. To elaborate this issue, a small U-shaped section with wide flanges can be used as a possible replacement of I-shaped standard girder. This prestressed concrete box girder allows more flexible girder height adjustment rather than standard I-shaped post-tensioned girder plus additional torsion resistance benefits of closed section. A 30m-long, 1.7m-high and 3.63m-wide actual small prestressed concrete box girder is designed and a laboratory test for its static behaviors by applying 6,200kN amount of load in the form of 4-point bending test was performed. The load-deflection curve and crack patterns at different loading stage are recorded. In addition, to extracting the dynamic characteristics such as natural frequency and damping ratio of this girder, several excitation tests with artificial mechanical exciter with un-symmetric mass are carried out using operational frequency sweep-up. Nonlinear finite element analysis of this 4 point bending test under monotonic static load is investigated and discussed with aids of concrete damaged plasticity formulation using ABAQUS program.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.167-202
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• 2014

When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.

• Cross-Cultural Studies
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• v.41
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• pp.381-413
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• 2015

This article aims to trace a historical trajectory of "Humanism" as a Modern scientific concept in the light of Michel Foucault's genealogy. Generally, we believe that Humanism is a natural and eternal idea for mankind, because no one doubts that he or she is not included in the category of a "Human Being." On the contrary, according to French philosopher Foucault, the Idea of Humanism, or anthropocentrism, appeared only in the Modern Age, from the 16th century downward. Before the Renaissance, human beings did not occupy the most important status in Nature, and only existed as natural beings. As soon as mankind was liberated from the superstitious of fear and religious dogma, the concept of "Human Being" is supplied with new meanings and values. The famous maxim, such as, "Man is the lord of creation" constitutes modern human science as an inviolable category of modernity. However, Foucault tried to illuminate the hidden sides of humanism, and gave us the strict warning on the end of the human beings, which turned out to be an object of Modern knowledge. If there would be no reason to maintain a knowledge system of Modernity, in other words, Modernity as knowledge would lose its validity and we could give up Humanism as a heavy burden. Moreover, it is very clear that we are confronted with the critical moments of radical skepticism on the meaning and value for Humanity. That means that we need to think about the new transformations of Human Beings, which will probably appear in the forms of "Non-Humans," "Machines (Deleuze & Guattari)," or "Post-Humans" etc. At the present time, we cannot know if it will be positive, or negative for mankind. We should look back at the history of Humanism from a genealogical perspective, which is why we have to investigate the conceptual trajectory of Humanism in this moment.

• Cross-Cultural Studies
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• v.53
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• pp.73-102
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• 2018

The purpose of this study was to explain, using Jacques Lacan's theory of desire, how Ellen Olenska functions as the object petit a in her relationship with Newland Archer and to connect the impossibility of Newland and Ellen's love with the impossibility of desire, in Edith Wharton's The Age of Innocence. In New York society in the 1870s, the unpleasant truth was avoided, personal opinions were excluded, no room for imagination existed, and other-ness was expelled. In that society, Newland realized that true love and true emotions were lacking in his life. For Newland, Ellen was the gap in New York society and the object that could fill that gap. Ellen functioned as the object petit a. But the romance between Newland and Ellen was forbidden in New York society, where everything was dominated by strict social codes, and especially because Newland was engaged to Ellen's cousin, May Welland. Ellen became inaccessible to Newland and this set Newland's desire for Ellen in motion. He idealized Ellen as the objet petit a, based on the fantasy that she would fill the void in his life. However, at every critical moment, Newland delayed unification with Ellen by resorting to social codes. His actions betrayed that the goal of his desire was not the fulfillment, but the reproduction of desire, with its circular movement. His decision not to see Ellen in Paris again at the end of the novel can be interpreted as Newland's effort to maintain Ellen as the inaccessible object, objet petit a, forever. It is this impossibility of desire that the romance of Newland and Ellen is predicated upon. Another purpose of this study was to expand this impossibility of desire to the relationship between man and woman and to interpret The Age of Innocence as a story showing the characteristics of the relationship between the sexes. The relationship between Newland and Ellen shows that there is no harmonious relationship between the sexes and that woman exists only as a fantasy object, objet petit a for man.

• Wind and Structures
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• v.28 no.2
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• pp.71-87
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• 2019

The yaw and interference effects of blades affect aerodynamic performance of large wind turbine system significantly, thus influencing wind-induced response and stability performance of the tower-blade system. In this study, the 5MW wind turbine which was developed by Nanjing University of Aeronautics and Astronautics (NUAA) was chosen as the research object. Large eddy simulation on flow field and aerodynamics of its wind turbine system with different yaw angles($0^{\circ}$, $5^{\circ}$, $10^{\circ}$, $20^{\circ}$, $30^{\circ}$ and $45^{\circ}$) under the most unfavorable blade position was carried out. Results were compared with codes and measurement results at home and abroad, which verified validity of large eddy simulation. On this basis, effects of yaw angle on average wind pressure, fluctuating wind pressure, lift coefficient, resistance coefficient,streaming and wake characteristics on different interference zone of tower of wind turbine were analyzed. Next, the blade-cabin-tower-foundation integrated coupling model of the large wind turbine was constructed based on finite element method. Dynamic characteristics, wind-induced response and stability performance of the wind turbine structural system under different yaw angle were analyzed systematically. Research results demonstrate that with the increase of yaw angle, the maximum negative pressure and extreme negative pressure of the significant interference zone of the tower present a V-shaped variation trend, whereas the layer resistance coefficient increases gradually. By contrast, the maximum negative pressure, extreme negative pressure and layer resistance coefficient of the non-interference zone remain basically same. Effects of streaming and wake weaken gradually. When the yaw angle increases to $45^{\circ}$, aerodynamic force of the tower is close with that when there's no blade yaw and interference. As the height of significant interference zone increases, layer resistance coefficient decreases firstly and then increases under different yaw angles. Maximum means and mean square error (MSE) of radial displacement under different yaw angles all occur at circumferential $0^{\circ}$ and $180^{\circ}$ of the tower. The maximum bending moment at tower bottom is at circumferential $20^{\circ}$. When the yaw angle is $0^{\circ}$, the maximum downwind displacement responses of different blades are higher than 2.7 m. With the increase of yaw angle, MSEs of radial displacement at tower top, downwind displacement of blades, internal force at blade roots all decrease gradually, while the critical wind speed decreases firstly and then increases and finally decreases. The comprehensive analysis shows that the worst aerodynamic performance and wind-induced response of the wind turbine system are achieved when the yaw angle is $0^{\circ}$, whereas the worst stability performance and ultimate bearing capacity are achieved when the yaw angle is $45^{\circ}$.