• 한국해양공학회지
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• 제3권2호
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• pp.125-137
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• 1989

To check technical improvement in the soundness and strength of 12% Cr steel rotor, a 25 tons of rotor with 65 tons of ingot was made in real size and was cut to pieces to take test samples, and the various mechanical tests such as impact, tensile, creep, and fatigue were carried out. The strengths are compared with those of 1% Cr-Mo-V rotor of same size. Microstructures of the samples are examined and reviewed. The results can be summarized as follows. 1) Fracture appearance transition temperatures are 80.deg. C at the center part and 60.deg. C near surface of 12% Cr rotor, and 8.deg. C near surface of 1% Cr-Mo-V rotor. 2) Comparative rapid softening occurs at higher temperatures above 600.deg. C for 12% Cr steel and 550.deg. C for 1% Cr-Mo-V steel in tension tests. 3) Fatigue crack propagation rate of 12% Cr steel is almost same as that of 1% Cr-Mo-V steel at the same corresponding surface part of the rotors. The crack growth rate of center part of 12% Cr rotor is faster than near surface part of the rotor, and the crack growth rate at the load condition of R=0.04 is slower than that of the load condition of R=0.5 for both 12% Cr steel and 1% Cr-Mo-V steel. 4) Crack growth rate of radial direction near surface of 12% Cr rotor is faster than that of transverse direction at the same part because of the difference in residual stresses. 5) Both creep and fatigue strengths of 12% Cr steel are superior to those of 1% Cr-Mo-V steel and the difference is thought the effect of climb and glide controlled creep by solid solution of alloying elements and dispersion of carbides.

• 한국해양공학회지
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• 제3권2호
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• pp.625-625
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• 1989

To check technical improvement in the soundness and strength of 12% Cr steel rotor, a 25 tons of rotor with 65 tons of ingot was made in real size and was cut to pieces to take test samples, and the various mechanical tests such as impact, tensile, creep, and fatigue were carried out. The strengths are compared with those of 1% Cr-Mo-V rotor of same size. Microstructures of the samples are examined and reviewed. The results can be summarized as follows. 1) Fracture appearance transition temperatures are 80.deg. C at the center part and 60.deg. C near surface of 12% Cr rotor, and 8.deg. C near surface of 1% Cr-Mo-V rotor. 2) Comparative rapid softening occurs at higher temperatures above 600.deg. C for 12% Cr steel and 550.deg. C for 1% Cr-Mo-V steel in tension tests. 3) Fatigue crack propagation rate of 12% Cr steel is almost same as that of 1% Cr-Mo-V steel at the same corresponding surface part of the rotors. The crack growth rate of center part of 12% Cr rotor is faster than near surface part of the rotor, and the crack growth rate at the load condition of R=0.04 is slower than that of the load condition of R=0.5 for both 12% Cr steel and 1% Cr-Mo-V steel. 4) Crack growth rate of radial direction near surface of 12% Cr rotor is faster than that of transverse direction at the same part because of the difference in residual stresses. 5) Both creep and fatigue strengths of 12% Cr steel are superior to those of 1% Cr-Mo-V steel and the difference is thought the effect of climb and glide controlled creep by solid solution of alloying elements and dispersion of carbides.

• 한국세라믹학회지
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• 제47권4호
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• pp.312-318
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• 2010

Chulwha pieces collected from Hakbong-ri site in Keryong mountain were studied whether there is reactions or not in each layer to investigate firing condition of glaze, body, Chulwha, engobe of Buncheong ware in the early Chosun Dynasty, 15th~16th Century. As a result of XRD analysis of a Chulwha piece, a main crystal phase was $\alpha$-Quartz and a second was Mullite. It was assumed the firing temperature would be around $1200^{\circ}C$ because a little amount of Mullite was formed in the body and there was no phase transition $\alpha$-Quartz to cristobalite. As a result of ICRM analysis, Chulwha and glaze didn't react and the melted glazes were sunk into the Chunwha particles. The thin layer of glaze was found on the Chulwha layer. As a result, the color of Chulwha layer always came to vivid black. Moreover, Chulwha painting didn't spread over the Buncheong ware, because Chulwha and engobe didn't react. The boundary interface of engobe and body was not clear because they had similar compositions. This shows engobe was composed of more $Al_2O_3$ than body.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• 헤리티지:역사와 과학
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• 제49권3호
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• pp.52-77
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• 2016

관우를 모신 동관왕묘에는 51점의 현판이 소장되어 있다. 이것들은 조선의 국왕이나 명 청대 사신 및 장군들이 쓴 것이다. 그동안 현판에 대한 연구는 궁궐에 소장된 것들이 주로 연구되었고, 동관왕묘의 것은 거의 이뤄지지 않았다. 이에 본고에서는 조선후기 국왕의 글씨로 만든 현판을 연구대상으로 삼아, 그 내용과 형식을 분석하였다. 내용상으로는 현판의 제작자와 제작시기 및 제작배경을, 형식상으로는 현판의 유형과 재료 및 시기별 양식 변천을 밝혀 보았다. 이를 통해 알게 된 사실은 다음과 같다. 우선, 동관왕묘에 국왕 글씨로 만든 현판은 총 7점이 현존하고 있다. 숙종이 쓴 1점, 영조가 쓴 4점, 고종이 쓴 2점이 그것이다. 이것들은 건물의 이름을 쓴 편액(扁額)과 동관왕묘에 방문한 느낌을 시로 쓴 시액(詩額)으로 나뉘었다. 특히 후자는 국왕이 봄과 가을에 능행(陵幸)하면서 동관왕묘에 들렀을 때 썼으며, 관우의 의리와 충성을 통해 왕실의 안녕을 도모하고자 의도한 내용이 포함되어 있다. 다음, 국왕의 현판은 명 청대 사신이나 장군의 것들과 비교할 때 재료나 형식면에서 차별화되었다. 바탕은 청색[회회청(回回靑) ]이나 주색[주칠(朱漆)] 및 옻색[흑칠(黑漆)]으로서, 먹색[묵(墨)]이나 흰색[분질(粉質)]으로 된 현판보다 고급 재료로 칠하였다. 글씨는 양각으로 새긴 위에 금(金)으로 칠하였다. 현판의 형식은 4면이 모판처럼 $45^{\circ}$로 비스듬하며 단청기법으로 꽃문양이나 칠보문양을 그렸고, 그 좌우와 아래로 길게 빼 당초문양을 장식하였다. 이것은 '사변형(斜邊形)'이라고 부르는 형식이며, 나머지 3종류의 형식보다 품격이 높아 최고 수준의 것이었다. 이처럼 국왕의 글씨를 새긴 현판의 존재를 통해 조선후기에 동관왕묘는 국왕들이 관심을 가지고 있었고, 군인들의 충성심을 강조한 정치적 공간으로서의 위상도 확인할 수 있었다. 이밖에 명대 사신이나 청대 장군의 글씨로 제작된 현판과 형식 비교나 시기별 양식적 변천은 다음 기회로 미루고자 한다.

• 한국근적외분광분석학회:학술대회논문집
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• 한국근적외분광분석학회 2001년도 NIR-2001
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• pp.1621-1621
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• 2001

The quality of sugarcane grown on the NE Australian tropical coast ($16^{\circ}$15'- $18^{\circ}$15' S Lat.) has declined markedly in the past seven years. This has been linked to dilution of mill-supply cane with increasing levels of non mature-stalk material consisting of leaves and sucker culms. The prime research objective was to examine the transition from the pre-harvest, in-field crop to harvested material sent for processing, in terms of quality and crop fraction proportions. A secondary objective was to quantify the effects of preharvest-season crop habit and culm condition on crop quality. Ten quadrat samples from each of 54 random crop sites (17 in 1999 and 37 in 2000), covering a wide range of variables (cultivar, crop class, and edaphic, topographic, climatic, and temporal factors) were collected immediately before harvest. Samples were partitioned into four fractions:- sound and unsound mature stalks (culms), sucker culms, and extraneous matter (leaves). Material harvested from each site was sampled and partitioned into four fractions:- sound and unsound billets (culm pieces), culm-spindle pieces, and leaf. In 2000, before harvest, 14 additional sites were sampled monthly, on three occasions, from March - June. Erect and non-erect culms were divided into sound and unsound classes. All samples were disintegrated and presented to a remote reflectance module of a scanning spectrophotometer using the BSES large cassette module. Near infra-red spectroscopic (NIS) analyses were developed for the rapid determination of quality components (Brix, commercial cane sugar (CCS), fibre, moisture, and polariscope reading). Calibrations for three material groups (culm (n = 639), non-culm (n = 496), and combined) were developed for all components using the 1999 data set. Two sub-sets (n = 178, and 190) of about 10% of the preharvest-season and harvest populations scanned in 2000 also were subjected to full routine laboratory analyses. The 1999 combined calibrations were excellent, but the culm calibrations produced consistently lower standard errors. Non-culm calibrations were marginally better than the combined for only CCS and pol. reading. Analysis of the 2000 culm data with calibrations using all 1999 and 2000 culm data resulted in better predictions relative to the 1999 culm calibrations. This also was true for the combined calibrations. Assessment of quality components in pre- and post-harvest sugarcane using NIS calibrations was more cost effective than using routine laboratory techniques. Outcomes from this NIS-facilitated research will have important economic consequences for the Australian sugarcane industry. Potential CCS present in mature culms is being discounted by dilution with leaves and sucker culms, threatening farm viability. The results question the efficacy of current harvesting technology. The CCS of harvested cane is improved only marginally over that of the in-field crop. Current harvesting technology requires either supplementary, innovative pre-mill processing or a design revolution to improve mill-supply cane quality, and therefore whole of industry economics. NIS-facilitated analyses, before the harvest season, highlighted the benefits of growing erect, sound crops. Loss of CCS then, can be minimized only by a combination of crop improvement and agronomic solutions, applied as part of sound on-farm management.

• 복식
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• 제63권2호
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• 한국해양학회지
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• 제21권1호
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• pp.25-33
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• 1986

미국 Texas 남쪽 해안에 위치한 Redfish Bay의 해초생태계에 우점종으로 나 타나는 4어종인 darter goby(Gobionellus bolesoma), pinfish(Lagodon rhomboides), code goby(Gobiosoma robustum), 그리고 Gulf pipefish(Syngnathus scovelli)에 대 한 성장에 따른 먹이 선택의 변화를 정량적으로 연구하였다. 가장 우점종인 darter goby는 비교적 다양한 먹이를 먹는 잡식성 어류로 amphipods, copepods, polychaetes, filamentous algae, diatoms 그리고 detritus등이 주된 먹이였다. 이 종 은 성장에 따른 먹이 선택의 변화가 크지 않았다. 반면에 pinfish, code goby 및 Gulf pipeifish는 성장함에 따라 먹이 종류가 크게 달라졌다. pinfish의 경우, 4단계 의 먹이 선택의 변화를 보이는데, 초기에는 육식성으로 주로 copepods를 섭식하였 으나, 조금 성장하면 주된 먹이가 amphipods로 바뀌며, 조금 더 성장하면 잡식성으 로 변해 filamentous algae, diatoms, amphipods 그리고 aolychaetes등의 다양한 먹 이를 먹으며, 그후 더욱 성장하면 seagrass와 seagrass위에 붙어있는 algae 그리고 그들의 debris를 주로 먹는 초식성으로 먹이 습성이 바뀌었다. code goby 와 Gulf popefish 는 비교적 적은 종류의 동물성 먹이에만 의존하는 육식성 어류들이었다.또한 두조은 비슷한 성장에 딸느 먹이 선택의 변화를 보이는데,초기에는 주로 copepods 를 섭이하였으나 성장함에 따라 점진적으로 보다 큰 amphipods로 먹이 선택이 바뀌었다.

• 복식
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• 제62권1호
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• pp.120-136
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• 2012

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen's enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.

• 복식
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• 제62권8호
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• pp.149-165
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• 2012

This study is to understand the characteristics of women's Hanbok fashion in the modern Korea by investigating the features of colors and color arrangements of remaining relics. The summary of findings from the researches and analysis from over 1840 pieces of Hanbok relics in modern Korea are as follows: First, since western-style cloth were introduced and utilized for Hanbok from 1960, the number of colors have drastically increased. However, the most commonly used colors and parts throughout all the periods remained the same. These are Y, R and white colors for Jeogori and Y, R and PB colors for Chima. And, as for the representative color of each of the six periods, significant changes of color were found Jeogori in the 1960~1970s. While no clear color changes were found in the period prior to the 1960s and after the 1980s. Secondly, as for the color tones, although the high luminosity-low chroma were generally used over the periods, it was observed that various colors of low luminosity-high chroma began to be used from 1960 and so Jeogori became more colorful. And lastly, Y and white color were taking up the highest percentage in the solid color arrangement. When composing 2 colors, the Y tone color dominants with R tone as sub-color was the most prevalent, and when 3 and 4 colors were combined, the extra color were increasingly seen in the upper garment cuff and collar so that the arrangement of different colors increased the aesthetic symbols when combined with the colors of the Chima.