• 천문학논총
• /
• 제12권1호
• /
• pp.111-143
• /
• 1997

We have developed a spherical FCT code in order to simulate the interaction of supernova remnants with stellar wind bubbles. We assume that the density profile of the supernova ejecta follows the Chevalier mode1(1982) where the outer portion has a power-law density distribution($\rho{\propto}\gamma^{-n}$) and the SN ejecta has a kinetic energy of $10^{51}$ ergs. The structure of wind bubble has been calculated with the stellar mass loss rate $\dot{M}=5\times10^{-6}M_{\odot}/yr$ and the wind velocity $\upsilon=2\times10^3$ km/s We have simulated seven models with different initial conditions In the first two models we computed the evolution of SNRs with n=7 and n=14 in the uniform medium The numerical results agree with the Chevalier's similarity solution at early times. When all of the power-law portion of the ejecta is swept up by the reverse shock, the evolution slowly converges to the Sedov-Taylor stage. There is not much difference between the two cases with different n's The other five models simulate SNRs produced inside wind bubbles. In model III, we consider the SN ejecta of 1.4 $M_{\odot}$ and the radius of bubble ~2.76 pc so that ratio of the mass $\alpha(=M_{W.S}/M_{ej}$ is 2. We follow the complex hydrodynamic flows produced by the interaction of SN shocks with stellar shocks and with the contact discontinuities, In the model III, the time scale for the SN shock to cross the wind shell $\tau_{cross}$ is similar to the time scale for the reverse shock to sweep the power-law density profile $\tau_{bend}$. Hence the SN shock crosses the wind shell. At late times SN shock produces another shell in the ambient medium so that we have a SNR with double shell structure. From the numerical results of the remaining models, we have found that when $\tau_{cross}/\tau_{bend}\leq2$, or equivalently when $\alpha\leq50$, the SNRs produced inside wind bubbles have double shell structure. Otherwise, either the SN shock does not cross the wind shell or even if it crosses at one time, the reverse shock reflected at the center accelerates the wind shell to merge into the SN shock Our results confirm the conclusion of Tenorio-Tagle et a1(1990).

• 조형예술학연구
• /
• 제3권
• /
• pp.145-177
• /
• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.