• Structural Engineering and Mechanics
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• 제76권5호
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• pp.561-578
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• 2020

The present work addresses the surface integrity and chip morphology in finish hard turning of AISI D3 steel under nanofluid assisted minimum quantity lubrication (NFMQL) condition. The surface integrity aspects include microhardness, residual stress, white layer formation, machined surface morphology, and surface roughness. This experimental investigation aims to explore the feasibility of low-cost multilayer (TiCN/Al2O3/TiN) coated carbide tool in hard machining applications and to assess the propitious role of minimum quantity lubrication using graphene nanoparticles enriched eco-friendly radiator coolant based nano-cutting fluid for machinability improvement of hardened steel. Combined approach of central composite design (CCD) - analysis of variance (ANOVA), desirability function analysis, and response surface methodology (RSM) have been subsequently employed for experimental investigation, predictive modelling and optimization of surface roughness. With a motivational philosophy of "Go Green-Think Green-Act Green", the work also deals with economic analysis, and sustainability assessment under environmental-friendly NFMQL condition. Results showed that machining with nanofluid-MQL provided an effective cooling-lubrication strategy, safer and cleaner production, environmental friendliness and assisted to improve sustainability.

• 과학기술학연구
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• 제19권3호
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• pp.1-49
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• 2019

2000년에 크루첸과 스토머에 의해 제안된 '인류세' 개념은 다수 학문분과에 큰 반향을 일으키고 있다. 21세기 인류(생명)가 대면하고 있는 생태-존재론적 비상상태에 대한 가장 강력한 문제제기인 인류세 담론에 대한 사회이론의 응답의 한 시도로서, 이 연구는 다음의 문제들을 다루고자 한다. 첫째, 인류세 담론의 핵심의제를 인간 행위능력의 행성적 신장과 임박한 파국이라는 관점에서 분석한다. 둘째, 인류세 담론을 들뢰즈와 가타리적 의미의 어셈블리지(문제-어셈블리지)로 이해하기를 제안한다. 셋째, 해밀턴과 차크라바티의 테제들을 분석함으로써, 인류세가 인문, 사회과학에 가져온 충격을 진단한다. 넷째, 발터 벤야민의 '역사의 천사' 이미지를 분석하고, 파국에 내포된 변형적 생성의 가능성을 감수능력, 혹은 페이션시(patiency) 개념을 중심으로 진단한다. 다섯째, 재귀적/성찰적 파국주의 개념을 제시하고, 파국에 대한 새로운 관점을 제안한다.

• 영어영문학
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• 제56권2호
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• 조형예술학연구
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• 제3권
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• pp.145-177
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• 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.

• 한국전통조경학회지
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• 제36권3호
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• pp.1-15
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• 2018

본 연구의 목적은 조선시대 한양 궁궐에 범과 표범 출몰에 대해 환경사적 관점에서의 고찰을 통해 궁궐 실체의 한 단면을 규명하는 것이다. 이를 위해 "실록" 등 사서에 실린 범과 표범 출몰 기록을 토대로 환경사의 세 가지 관심 즉, '환경', '환경에 미친 인간의 영향', '환경에 대한 인간의 의식과 태도'를 주제로 고찰하였다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 조선시대에 궁궐은 물론 한양 도성 내외에도 수시로 범과 표범이 출몰했음을 확인할 수 있었다. 심지어는 후원에서 호랑이가 먹이 활동을 하거나 번식도 했으며 사람을 해치기도 했다. 둘째, 이러한 상황은 한양 궁궐의 우수한 입지 특성, 조영철학과 기법 등 태생적 요인에 기인한다고 볼 수 있다. 궁궐이 입지한 '좋은 터'는 인간에게만 유용했던 것이 아니라 범과 표범의 활동에도 유리하게 작용했음을 알 수 있었다. 셋째, 우수한 입지 환경에 더해 궁궐과 도성 주변에 대한 산림 정책은 범과 표범의 출몰을 촉진했을 수도 있다. 즉 금송과 금장, 금산, 봉산 등의 관리 정책은 산과 산이 이어진 지형에 숲을 우거지게 했고 이는 범과 표범의 은신처이자 이동 통로의 역할을 한 것으로 판단된다. 넷째, 궁궐을 비롯해 한양 도성 내외에 범이 출몰하는 것에 대한 대처 방식은 역대 왕마다 조금씩 차이가 있었음을 확인할 수 있었다. 이중에서 특히 정조는 궁궐에 출몰하는 범과 표범에 대한 실제적인 현상 파악과 현실적인 대처 방법을 강구했다는 점이 두드러진다. 다섯째, 이들을 종합해볼 때, 궁궐과 도성에 범과 표범의 빈번한 출몰은 역설적이지만, 피상적으로 언급되어온 조선 궁궐의 '친자연성' 혹은 '친환경성'을 보여주는 실증적 증거의 하나로 볼 수도 있다. 추후 연구 과제로 궁궐의 문화사와 생태사 등의 관련 학제간 연구도 필요할 것이다. 또 조선시대의 생태 변화 추이와 관련된 보다 과학적이고 심화된 후속 연구도 필요할 것으로 생각된다.