• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.240-251
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• 2019

This study examined the manufacturing technology used for the flat iron axes excavated from Ulsan Hadae. Their microstructures were analyzed using metallurgical methods. In addition, a variety of manufacturing technologies were examined and compared using existing research materials on flat iron axes. As a result of analyzing ten flat iron axes, which were excavated in the order that they were laid out in a row in one of the wooden coffin tombs at Ulsan Hadae, Tomb No. 44, it was possible to classify the flat iron axe manufacturing technology and system into three types: 'pure iron - shape processing', 'pure iron - shape processing - carburizing', and 'pure iron - shape processing - carburizing - decarburizing.' All of the flat iron axes were produced by forging, and most of them were made by beating the pure iron into their shapes. In particular, a number of the flat iron axes were reinforced through a carburizing process after shaping the iron. This appears as steel products forming the basis of the steel industry at the time were commonly used as an intermediary material or currency. On the other hand, it was commonly found in all samples that the hardening was not performed after shaping or carburizing. Since the microstructure of the flat iron axes made of pure iron contained a large number of impure inclusions and the result of analyzing the components of the non-metal inclusions showed characteristics of slag which contains a mixture of glass phase and wustite, it is possible that low-temperature reduction was used in the refining process.

• Economic and Environmental Geology
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• v.56 no.4
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• pp.475-499
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• 2023

To infer the provenance of raw iron materials utilized in iron production at the archaeological sites in Gyeongsang province, petrographic and geochemical analyses were conducted for smelting samples and major iron ores sourced from ore deposits. The smelting samples excavated from various iron archaeological sites were classified into different types according to their refining processes, such as iron bloom, iron bloom slag, pig iron, pig iron slag, forging iron flake, smithery iron, iron flake, and arrowhead. These samples exhibited discernable differences in their mineralogical components and texture. The enrichments of major elements such as aluminum and calcium in silicate minerals of the residual slags and the high contents of trace elements such as nickel and copper in some iron-making relics reflect the characteristics of raw iron ores, and thus can be regarded as potential indicators for inferring the provenance of source materials. In particular, the compositional ranges of Pb-Sr isotope ratios for the iron smelting samples were classified into three categories: 1) those exhibiting similar ratios to those of the raw iron ores, 2) those enriched in strontium isotope ratio, and 3) those enriched in both lead and strontium isotope ratios. The observed distinct Pb-Sr isotope characteristics in the iron smelting samples suggest the potential contribution of specific additives being introduced during the high-temperature refining process. These results provide a new perspective on the interpretation of the provenance study of the iron archaeological samples in Gyeongsang province, particularly in terms of the potential contribution of additives on the refining process.

• Journal of Conservation Science
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• v.36 no.3
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• pp.197-212
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• 2020

This study analyzed the microstructure of ring-pommel swords, excavated from Ancient Tombs, Hadae, Ulsan and examined their production technique, using non-destructive testing and a metallurgical method. The results confirmed that the five ring-pommel swords, unearthed in Ancient Tombs, Hadae, Ulsan, as identified by radiographic non-destructive testing, had been solely manufactured using iron, through forging based on the single-piece technique. Furthermore, these results were compared with previous studies, and the manufacturing techniques of single-piece ring-pommel swords were categorized into three types: pure iron - changing the shape, pure iron - changing the shape - carburization, and steel - changing the shape - quenching. The ring-pommels of four swords had around 0.7% of carbon content, which is as much as for eutectoid steel and higher than for other parts of these swords, such as the backs of their blades and handles. The weapon function of a small ring-pommel sword, under 60cm in length, was maximized by quenching focusing on its blade. Conversely, the martensite quenching structure was not observed in four ring-pommel swords shorter than 75cm. In other words, the same types of single-piece ring-pommel swords(late in 2C~early in 4C) were unearthed from Ancient Tombs, Hadae, and the group who has manufactured these swords is presumed to have limited their effectiveness, functionally depending on purposes, through an iron-making process and heat-treatment techniques.

• Conservation Science in Museum
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• v.16
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• pp.56-81
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• 2015

Ring in the scroll painting is one of the mounting elements which are fixed string and tassel to hang, these differ widely in shape and produce a variety of metals. Most traditional shapes of ring have been lost, because of remount, there are used Japanese style rings in present.Therefore, this study examines to shape, production technique and analyze component traditional style rings of 19 traditional scroll paintings in National Museum of Korea for restoration of original style. Ring has been recorded official names; Wonhwan(Ring), Gukhwadong(Chrysanthemum shaped ornaments), Baemok(Ring-shaped nail) in Uigwe. Result of an optical microscope (Leica, M205A), Wonhwan has two type of production technique; one is cutting and bending a metal rod and other is cast. Baemok is made to forging process after metal rod or plate by casting alloy. Baemok decoration is metal plate cutting shape, and then decorates it with pattern by using kicking line engraving, chasing and so on. Component analysis result from portable X-ray fluorescence found various metals, such as, brass, iron silver-cooper. Brass based on copper and zinc used rings of 17 scroll painting. Baemok of Yun Sidal portrait is used iron and plated with a tin-lead alloy. Yi Seogu portrait is silver-cooper alloy in whole ring.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.7754-7760
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• 2015

The outer tie rod is one of the part of steering system, the optimization process was executed to find the lightweight design. The inner tie rod was considered in the optimum design of an outer tie rod. it could be closer to the test condition than in the case of considering outer tie rod only. The aluminum forging material was considered as a weight reduction proposal. The target of optimization was the shape of the minimum weight to resist at the load of buckling. RSM and Kriging interpolation method were applied as a optimization method to consider the nonlinear shape optimization problem. Then, 16.3%, 16.6% of weight reduction was obtained from the result comparing with that of the initial model. The results of meta model optimization was compared with that of finite element method. The error values of buckling load estimation were 2.6%, 2.04%. and those of weight estimation were 0.17%, 0.13%. Therefore, it seemed that the result of Kriging model could be obtained closer to optimum value than that of RSM model.

• English & American cultural studies
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• v.10 no.2
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• pp.73-97
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• 2010

Representation of destitution may be considered as an expression of a social desire toward forging a bond or solidarity with the impoverished. However, political and ethical demands of the solidarity force the formulaic framework structuring the form of representation to its limits. The thesis aims to examine the responses to such demands within the tradition of modernist literature that can be traced from Charles Baudelaire, Knut Hamsun to Franz Kafka and that somehow culminates with Samuel Beckett, and to analyze how the issue of destitution that weaves through Beckett's works criticizes and inherits such a heritage. Whereas destitution in 19th century Realism is structurally fixed and its potential for change is inherently excluded, for these writers, destitution is no longer the state of rigid reality in which any possibility is limited. It is destitution as an imperative that calls for exploitation of possibilities that can be recuperated from the impoverished condition of destitution. What these writers consistently resist against is destitution that leads to compensation and reward. Since occupying a superior position toward the other as the subject of description or sympathy can be seen as one form of profit or reward, they have persistently pursued absolute solitariness and austere conditions rather than prematurely simulating a sense of solidarity and community. The ultimate goal of destitution as an imperative is to pursue destitution in order to worsen it by identifying and then excluding and expending possessions and assets to a state of penury. This is a paradoxical process that opens up the realm of possibilities of destitution and redefines it as abundance and wealth. Destitution for Beckett as seen in the writers above is the objective of literature. But, what he focuses on is to amplify the shreds of economic world that still remain in a state of poverty and to reveal extreme poverty as a state of odd affluence and to transform it into a pursuit of accumulation and profit. One of his famous axioms, "less is more", contains the essence of such a paradoxical strategy. In a sense, such approach is a twist on the strategy that identifies and uses any remaining potential hidden in destitution as was pursued by other writers. It also expands on the imagination of the destitute described by Hamsun. But Hamsun and Beckett are diametrical opposites. Unlike Hamsun, Beckett does not link imagination with a sense of guilt. Imagination is not intended to overcome the destitute reality nor to culminate in artistic martyrdom as in the case of Kafka's hunger artist. The imagination of the impoverished in Beckett is simply a hilarious game and not an escape that ends in a sense of guilt. This game formulates a "rhetorical question" or derision at the ironical situation where the pursuit of hunger and art as the disinterestedness has been turned into symbolic capital. It is inherently a fundamental critique at the aestheticization of destitution that has been pursued by Modernism. Beckett's efforts at divulging falsehood inherent in non-profit acts such as charity, donation and hospitality are dissections of social fictions in which aestheticization of destitution remains a part of the whole.