• Proceedings of the Korean Nuclear Society Conference
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• 1997.10a
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• pp.44-49
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• 1997

액체금속로용 2차원적 연소 해석 코드 REBUS-2[1]에 횡방향 적분법 및 다항식 전개법에 기초한 3차원적 육방형 노달 방법을 결합하여, 3차원적 연소 해석 코드 REBUS-K를 개발하였다. REBUS-K는 3차원적 중성자속 분포 계산 및 미시적 연소 계산을 통해 노내 연소 해석을 수행하며, 또한 핵연료 방출/재배치 및 재장전, 재처리, 성형가공 등의 노외 주기 계산을 수행한다. 비평형주기 및 평형주기 해석을 수행하며, 평형주기 해석 시에는 지정된 제한 연소도 및 증배계수를 만족시키는 주기 길이와 장전 농축도를 탐색한다. 개발된 코드의 검증 계산을 450 MWt 액체금속로의 비평형주기 및 평형주기 문제에 대하여 수행하였으며, 계산 결과를 Argonne 연구소의 3차원적 연소 해석 코드 REBUS-3[2]의 결과와 비교하였다. 그 결과 원자로 증배계수, 출력 분포, 증식율, 연소도, 장전 핵연료의 농축도, 주기 길이 등의 연소 특성이 수렴 조건 이내에서 일치하였다.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• The Mathematical Education
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• v.61 no.4
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• pp.613-629
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• 2022

This study explored the heterogeneous latent group on the influence of the learner's perceived math teaching method(instructor-centered, learner-centered) on math self-efficacy. In order to profile the characteristics of the detected latent group, the distribution of variables was confirmed, and multi-group analysis was conducted by SEM. According to the analysis results, two latent groups were detected, and the instructor-type group and the learner-type group were named. As a result of post-hoc analysis, the perception of instructor-centered classes and learner-centered classes, and the perception of math teaching ability were similar between the instructor-type and the learner-type group. But the instructor-type group had higher math self-efficacy, math interest, and math class engagement than the learner-type group. Also, in the instructor-type group, the effect of perception of math teaching ability on math self-efficacy and math class engagement was greater than that of the learner-type group. Whereas, in the learner-type group, the effect of math interest on math self-efficacy and math class engagement was greater than that of the instructor-type group. This study presented a new research method on the influence of math teaching methods on learners by applying the REBUS-PLS method.

• Journal of the Korean Institute of Navigation
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• v.18 no.2
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• pp.111-127
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• 1994

A Contract of marine insurance is a contract whereby the insurer undertakes to indemnity the assurd, in manner and to the extent thereby agreed, against marine losses that is to say, the losses incident to marine adventure. But the matter is that whether the problem of increased risk in insurance law should be understood by matching to nay state under general principle of contract law and whether that we should give any effect is more proper to the original object of the system. For this, it is understood that it is a case to be applied a "clausula rebus sic stantibus" in general today, but it is regarded as the matter that whether "clausula rebus sic stantibs" is charging any position in change of risk and whether we should understood the concept of the risk on the substance of the risk. Accordingly the recognition for the problem like this, study should examine closely into whether any system for the effect of increase in change of risk is more proper and rational system provide the supplementing points through our principle of insurance law and the study by comparing method.by comparing method.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.51
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• pp.159-185
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• 2011

This paper is intended to discuss the controversial issue of the principles of change circumstances under the legal system of international commercial transactions. The principles of change circumstances, so called clausula rebus sic stantibus is the legal doctrine allowing for treaties to become inapplicable because of a fundamental change of circumstances. It is essentially an "escape clause" that makes an exception to the general rule of pacta sunt servanda (promises must be kept). The practical needs of international transactions differ from the established concepts of national contracts law. The purpose of this paper is to analyze the legal system and theories under the regimes of international commercial transactions such as the CISG, the PICC, and the PECL. Clausula rebus sic stantibus does not apply if the parties to a treaty had contemplated for the occurrence of the changed circumstance. It only relates to the changed circumstances that were never contemplated by the parties. This paper has shown that the hardship provisions in the CISG, PICC, PECL has similarities to each a validity defense and an excuse defense. it was provisions that CISG governs this issue in Article 79, PICC Article 6.2.1, 6.2.2, 6.2.3(in addition to Article 7.1.7), PECL Article 6.111(in addition to 8.108). It is time when we should reconsider its legal system with great interest in order to harmonize with the international standpoint. It will be the turning point of our viepoint under the international commercial transactions.

• Nuclear Engineering and Technology
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• v.47 no.1
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• pp.47-58
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• 2015

Four recycling scenarios involving pyroprocessing of spent fuel (SF) have been investigated for a 600-MWe transmutation sodium-cooled fast reactor (SFR), KALIMER. Performance evaluation was done with code system REBUS connected with TRANSX and TWODANT. Scenario Number 1 is the pyroprocessing of Canada deuterium uranium (CANDU) SF. Because the recycling of CANDU SF does not have any safety problems, the CANDU-Pyro-SFR system will be possible if the pyroprocessing capacity is large enough. Scenario Number 2 is a feasibility test of feed SF from a pressurized water reactor PWR. Thefsensitivity of cooling time before prior to pyro-processing was studied. As the cooling time sensitivity of cooling time before prior to pyro-processing was studied. As the cooling time increases, excess reactivity at the beginning of the equilibrium cycle (BOEC) decreases, thereby creating advantageous reactivity control and improving the transmutation performance of minor actinides. Scenario Number 3 is a case study for various levels of recovery factors of transuranic isotopes (TRUs). If long-lived fission products can be separated during pyroprocessing, the waste that is not recovered is classified as low- and intermediate-level waste, and it is sufficient to be disposed of in an underground site due to very low-heat-generation rate when the waste cooling time becomes >300 years at a TRU recovery factor of 99.9%. Scenario Number 4 is a case study for the recovery factor of rare earth (RE) isotopes. The RE isotope recovery factor should be lowered to ${\leq}20%$ in order to make sodium void reactivity less than <7$, which is the design limit of a metal fuel.

• Journal of the Korean Society of Costume
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• v.18
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.