• 자원환경지질
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• 제17권3호
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• pp.215-230
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• 1984

Petrological, paleomagnetic, geomorphological and structural studies on the southern part of, so called, Chugaryeong rift valley, have been carried out in order to clarify the nature of the rift valley. Three stages of volcanic activities characterized by Jijangbong acidic volcanic rocks and tholeiitic and andesitic basalt of Cretaceous age(?), and Jongok Quaternary olivine basalt occurred along the Dongducheon fault line. Jijangbong acidic volcanic rocks distributed in the central part of the studied area consist of rhyodacite, acidic tuff and tuff breccia, which are bounded by Dongsong fault on the east and Daegwangri fault on the west. The Jongok basalt differs from those of Ulrung and Jeju islands in mineralogy, chemical composition and differentiation. Jongok basalt distributed along the Hantan river dilineates the vesicles curved toward downstream direction and increment of numbers and thickness of lava flow toward upstream direction. These facts suggest that lava flowed from upstream side of the river. Rectangular drainage patterns also support the presence of the Dongducheon, Pocheon, Wangsukcheon and Kyonggang faults which were previously known. LANDSAT image, however, does not show any lineaments which could be counted as a graben or rift valley. Displacement of Precambrian quartzite and Jurassic Daedong supergroup along the southwestern extension of the Dongducheon fault shows the right lateral movement. The Paleomagnetic study of the tholeiitic and andesitic basalts from Baegeuri, Jangtanri and Tonghyeonri located at 2. 3km east, 0km east, and 1.5km west of Dongducheon fault respectively shows that their VGP(Virtual Geomagnetic Pole) being to intermediate geomagnetic field of short duration which suggests that they formed in almost same period. Mean VGP of Jongok basalt is located 82.4N and 80.6E. This is in good coincidence with worldwide VGP of Plio-Pleistocene indicating that Jongok basalt was extruded during Plio-Pleistocene epoch, and suggesting that the studied area has been tectonically stable since then. From the present study, the tectonic episode of the region is concluded as following three stages. 1. The 1st period is worked by the Daebo orogeny of Jurassic during which granodiorite was intruded in Precambrian basement. 2. The 2nd period is the time when right lateral strike-slip fault of NNE-SSW direction was formed probably during late Cretaceous to Paleogene and the Jijangbong acidic volcanic rocks and the older basalts were extruded. 3. The 3rd period is the time when the fault was rejuvenated during Pliocene or Pleistocene accompanied by the eruption of Jongok basalt. As a conclusion, geologic structure of the studied area is rather fault line valley than graben or rift valley, which is formed by differential erosion along the Dongducheon fault suggesting a continuation of the Sikhote-Alin fault. The volcanic rocks including the Jijangbong acidic rocks, tholeiitic-andesitic basalt and olivine basalt are associated with this fault line.

• 한국산학기술학회논문지
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• 제20권10호
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• pp.26-32
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• 2019

곡선선로의 주행 속도를 향상하기 위한 가장 효과적인 방안은 차량성능 개선과 곡선 반경 증가이나, 많은 비용이 필요하므로 일반적으로 궤도 강화, 캔트량 변경의 방법을 적용한다. 본 논문은 기존선에 부설된 작은 반경의 곡선구간에서 효과적으로 주행속도를 향상하는 방법에 대한 연구이다. 연구방법으로 국내외 기준에 의한 곡선 반경별 주행속도 향상 한계치를 규정하고, 기 부설된 곡선을 변경하는 몇 가지 방안을 정립하여 완화곡선 연장 길이와 수평방향 이동량, 허용속도를 산정하였다. 그 결과 방법이 같으면 곡선반경이 커질수록 완화곡선 연장, 수평방향 이동량이 증가하는 경향을 보였다. 완화곡선 연장 증가치는 원곡선 반경을 고정하여 연장하는 방법이 가장 적고, 수평방향 이동량은 원곡선 반경 고정하고 사인반파장으로 변경하는 방법이 가장 적은 것으로 분석되었다. 향상된 주행속도를 경부선에 적용한 결과 원곡선 반경은 고정하고 완화곡선을 사인반파장으로 변경시 자갈도상 9.4%, 콘크리트도상 11.6%의 시간 단축과 표정속도 상승효과가 확인되었다. 기존선 주행속도 향상을 위한 우수한 방법은 완화곡선을 사인반파장으로 변경하는 C법이나, 평면 비틀림이 커져 유지보수가 불리해 지므로 도상을 콘크리트로 변경하면 효과적으로 적용할 수 있을 것으로 판단된다.

• 한국어류학회지
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• 제35권2호
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• pp.141-147
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• 2023

둑중개아목 (Cottoidei), 둑중개과 (Cottidae), 꼬마횟대속(Cottiusculus)은 전 세계적으로 4종, 일본에 3종, 국내에 2종이 보고되어 있다. 꼬마횟대속 어류는 머리와 몸이 종편되어 있고 피부아래 측선 비늘을 제외하면 비늘이 없는 것이 특징이며, 4개의 전새개골 가시를 가지고 가장 위쪽 전새개골 가시가 등쪽을 향한 작은 가시와 함께 휘어져 있는 것이 특징이다. 그 외 위턱, 서골, 구개골에 이빨을 가진다. 꼬마횟대속에 속하는 종으로는 국내에 꼬마횟대 (C. gonez)와 점줄횟대 (C. nihonkaiensis)가 있다. 이 중 국내 점줄횟대는 초기에는 많은 어류학자들이 Cottiusculus schmidti로 사용하였지만, Cottiusculus nihonkaiensis가 Kai and Nakabo (2009)에 의해 보고된 이후 대부분 C. nihonkaiensis로 사용되었다. 본 연구는 한국산 점줄횟대의 분류학적 위치를 명확히 하기 위해 한국에서 채집된 점줄횟대 형태와 분자 분석을 수행하였으며, 기존에 보고된 문헌들과 비교 분석하였다. 한국산 점줄횟대는 C. schmidti와 달리 비극(nasal spines)이 단순했고 주상악골 극모(MX, maxillary cirrus)가 두 갈래였으며, 눈 위에 안상골 극모(SOC, supraorbital cirrus), 아가미뚜껑에 주새개골 극모(OP, opercular cirrus), 전새개골 극모(PO, preopercular cirrus) 그리고 측선 극모(LLP, lateral line cirri)가 나 있었다. 또한, 측선아래 얼룩 개수가 적었다. 일본산 점줄횟대와 한국산 점줄횟대는 체장에 대한 비율이 대부분 일치하였다. 그리고, 분자계통분석결과 역시 한국과 일본 두 지역의 점줄횟대가 잘 일치하는 결과를 보여, 이러한 특징을 종합적으로 검토하면 한국산 점줄횟대는 C. nihonkaiensis인 것으로 사료된다.

• 한국가구학회지
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• 제24권1호
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• pp.24-32
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• 2013

The aim of the present study was to investigate and analyze a tendency of the Philippines furniture which are not well-known in Korean market yet, but have been emerging as an OEM base, through the Manila FAME 2012. The study was conducted by visiting some furniture companies in Philippines for the active understanding regarding the current status of the Philippines furniture, in consideration of the material, functional and structural aspects of the goods which were exhibited on the Manila FAME 2012. The methods of the investigation were to research the related literatures concerned and materials had been collected over the internet, to visit the Manila FAME 2012 at work and finally to visit furniture companies in Philippines. Manila FAME has been based on the DTI (DTI: Department of Trade and Industry) through CITEM (CITEM: The Center for International Trade Mission and Expositions) since 1983. The exhibition whichincludes various sorts from furniture, traditional artifacts, leisure goods, gifts, jewelry and clothes is becoming such a potent force by integrating three exhibitions such as Manila Now, CEBUNEXT and Bijoux Cebu, what all had been held before the world economic downturn. The features of the Philippines furniture shown on the Manila FAME are as follows: First, they are focusing on the maximum of function to the exclusion of the decoration and they were mostly made of various kinds of mahogany like jambilina, acacia, bamboo, wisteria and Manila hemp growing up in the Philippines indeed and finally there were a lot of the simple designs of the curved line which were exactly the material nature of the wisteria and Manila hemp.

• 조형예술학연구
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• 제6권
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• 패션비즈니스
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• 제10권1호
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• pp.79-93
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• 2006

The purpose of this study is to analyze designs of exhibition clothing in terms of the use of Korean image, to review objectively contents about the use of traditional image, understand external elements of works, and give directions and basic data for future works. This study selected the total 250 works as the subject of this study among the collected data. This study classified and examined the use of Korean image found in exhibition clothing according to period, item, line and form, material, technique of expression and accessary between 1996 and 2004. The results of analysis are as follows (1) The most artworks were comprised in adaptation were Choson costume. (2) Most of them were clothing works for female. The item of chima were the most preferred in use. (3) The straight lines are used more frequently than curved lines. Forms of skirts were applied to those of silhouettes, H and A form were common. (4) In terms of materials, traditional materials such as silk, linen and cotton were commonly used. (5) Geometric patterns and plant pattern were found more often than others. (6) In terms of techniques of expression, patchwork was most frequent, quilting, embroidery and pleating were ranked second, third and fourth. (7) In accessaries and other item, gorom were most common and norigae were ranked second. (8) As Korean image has been expressed by fine parts of traditional costumes, the traditional living item, and local symbols, the range of works are becoming wider.

• 패션비즈니스
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• 제11권4호
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• pp.204-220
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• 2007

The background of Korean Ethnical Costume was originated from those northern mounted nomadic groups, which was Scythe style Costume Culture. Through the antique records and paintings of tombs bequests hereby describe the forms of Scythian Cotume (1) Headgear : There was Conical Cap(or Pointed Cap), Feathered Cap, and Crown. (2) Clothes : Both Men and Women wore Jacket as upper garment with leftsided collars, narrow sleeves to the length of the hip line. As lower garment, they wore the tight Trousers and Kungo(:窮袴)that was attached with gusset. (3) Belts and Boots : On the upper garment bound the leather Belts that was hanged a hook that was shaped of animal form at the end. Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. To the Boots, they wore leather boots. (4) Ornaments : Ornaments divided into Dress Trimming(:Gold plaques), Earrings, Necklaces(;Torques), Bracelets, Rings. Scythian Gold Plaques were divided into several types according to the shape, animal style(curved beast shape, profile shape, head reversed over its back shape), round shape, quadrilateral form, star shape, flower shape, crescent shape, bundle shape, human appearance. Earrings consisted of a plain ring and pendant ring was a middle ornament hung from it to a pendants which hung was made of heart shaped leaves of the tree, beads-linked. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crescent-shaped pectoral style, Crown style. Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Rings were rhomb-shaped and animal shaped styleRings (5) Animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been inten-ded to guarantee the power of the aggressor.

• 대한조선학회논문집
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• 제38권2호
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• pp.62-70
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• 2001

선체 외판은 복잡한 3차원 곡면 형상이며 이의 제작을 위한 곡가공은 조선에 있어서 필수적인 공정이다. 곡가공 공정은 주된 1차곡 성형을 위한 프레스 공정과 2차 이상의 나머지 곡 성형을 위한 열간가공 공정으로 이루어진다. 특히 전체 작업량의 50% 이상을 점하는 열간가공 공정은 숙련된 기능공의 작업 경험에 전적으로 의존하고 있다. 이의 자동화를 위한 많은 연구가 있었으나 최근까지의 연구는 주로 선상가열에 한정되어 있으며 삼각가열에 대한 연구는 극히 미미한 실정이다. 본 연구는 향후 삼각가열에 대한 효율적인 변형해석 기법을 개발하기 위한 기초 연구로서 삼각가열에 의한 판의 변형특성을 명확히 하는데 그 주안점을 두었다. 우선, 실제 조선소에서 현장조건 그대로 일련의 선가열 및 삼각가열 실험을 수행하여 각각의 변형특성을 비교 분석하였으며 상변태온도 이상의 고온영역을 확인함으로써 그 변형특성을 합리적으로 해명하였다. 또한, 가열시편에 대한 물리시험을 통해 현재 조선소에서 행해지는 열간가공 방법이 선각재료의 성질 변화에 미치는 영향을 검토하였다.

• 복식
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• 제66권8호
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• pp.46-60
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• 2016

Countries have different brassiere patterns, and this study produced and compared 3/4 brassiere patterns from different countries to determine the difference in patterns, and to investigate the stress distribution and shape of cross section while wearing brassieres using 3D virtual fitting system. Despite the growing interest in underwear, there is a lack of related books and research on brassiere patterns, which causes the difference in sizes and pattern drafting methods by countries. Thus, research on this is needed. 3D virtual fitting system has been introduced to compare patterns, thereby improving visible effects and reducing the loss in cost caused by underwear pattern fitting test. According to the result of pattern analysis, The Secoli type exhibited the least breast cover rate (14.9 cm), while the largest cover rate was shown in Christina and ESMOD types (17.7 cm). It is believed that the difference in pattern drafting causes the difference in the total length of a brassiere. Furthermore, the Secoli, Moda Burgo, and ESMOD brassieres drafted from basic bodice pattern were found to be longer than the Christina and Han Sunmi brassieres attained from direct pattern drafting. Moreover, the darts' volume of upper and lower cups in Christina and Han Sunmi types was similar in shape. The shapes of cradle drafted from basic bodice pattern were a straight line, while those from direct drafting formed a curved shape. In fitting multiple cross sections, the Secoli, Moda Burgo, and ESMOD brassieres had gaps between the brassieres and the body. Among these, the largest number of gaps was observed in the ESMOD type pattern. This study aimed at performing comparative analysis of various brassieres' pattern drafting types as a basic research for developing a brassiere pattern drafting type.

• 한국의상디자인학회지
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• 제6권2호
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.