• KIEE International Transaction on Electrical Machinery and Energy Conversion Systems
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• 제3B권3호
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• pp.147-154
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• 2003

This paper presents a high-frequency boost type ZVS-PWM chopper-fed DC-DC power converter with a single active auxiliary edge-resonant snubber at the load stage which can be designed for power conditioners such as solar photovoltaic generation, fuel cell generation, battery and super capacitor energy storages. Its principle operation in steady-state is described in addition to a prototype setup. The experimental results of boost type ZVS-PWM chopper proposed here, are evaluated and verified with a practical design model in terms of its switching voltage and current waveforms, the switching v-i trajectory and the temperature performance of IGBT module, the actual power conversion efficiency, and the EMI of radiated and conducted emissions, and then discussed and compared with the hard switching scheme from an experimental point of view. Finally, this paper proposes a practical method to suppress parasitic oscillation due to the active auxiliary resonant switch at ZCS turn-off mode transition with the aid of an additional lossless clamping diode loop, and can be reduced the EMI conducted emission.

• Korean Chemical Engineering Research
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• 제47권4호
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• pp.453-458
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• 2009

최근 환경문제가 크게 대두됨에 따라 고분자 합성과 가공 공정에서도 유기용매를 사용하지 않는 새로운 친환경적 공정의 개발이 요구되고 있다. 초임계 이산화탄소는 고분자 합성에서 용매로 사용될 경우, 기존의 유기용매와 비교하여 불연성이고 독성이 없으며 생성물과의 분리가 용이하다는 장점을 가지고 있다. 본 연구에서는 초임계 이산화탄소를 이용하여 의약학 및 화장품 분야에서 지능형 약물전달체로 사용할 수 있는 pH 감응형 하이드로젤인 P(MAA-co-EGMA) 하이드로젤을 수 백 nm 수준의 입자 형태로 합성하는 방법을 개발하였다. 그리고 중합과정에서 사용하는 분산안정제인 PtBuMA-PEO와 중합개시제인 AIBN이 하이드로젤 입자의 합성에 미치는 영향을 살펴보았다. 입자의 합성에서 PtBuMA-PEO의 함량이 증가할수록 입자 크기는 감소하였으나 AIBN의 함량에 따른 입자 크기의 변화는 관찰할 수 없었다. 합성된 P(MAA-co-EGMA) 하이드로젤 입자의 pH에 따른 팽윤 실험결과, PMAA의 $pK_a$인 pH 5를 전후하여 급격한 하이드로젤의 평형 질량팽윤비의 변화를 관찰할 수 있었다. 즉, pH 5보다 낮은 pH에서는 낮은 팽윤비를, 반면에 pH 5보다 높은 pH에서는 매우 높은 팽윤비를 나타내었다. 그리고 Rh-B를 이용한 방출실험에서는 높은 pH에서는 다량의 Rh-B가 하이드로젤 입자로부터 방출되었으나 낮은 pH에서는 Rh-B가 거의 방출되지 않는 pH에 따른 선택적 방출 특성을 나타내었다.

• 유통과학연구
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• 제9권1호
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• pp.29-38
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• 2011

우리나라 대부분의 소매업태가 성장 또는 성숙단계에 머물고 있는 현재, 어떤 혁신적인 소매업태가 새로 출현하고 발전해 갈 것인가? 그리고 그 혁신적인 소매업태가 출현하고 발전해 갈 성장동력은 무엇인가? 본 연구는 이러한 문제인식에 근거하여 소매업태의 차별화경쟁과 소비자선택과의 상호행동을 연동하여 논의할 수 있는 소비자선택모델을 구축하여 혁신적인 소매업태의 출현과 발전과정을 분석하는 것이다. 본 연구에서의 분석결과는 다음과 같이 요약할 수 있다. 첫째, 소매시장에서 새로운 진공지대가 발생하면 그곳에 저가격·저서비스 또는 고가격·고서비스의 혁신적인 소매업태가 출현한다. 둘째, 진공지대에서 신규업태의 수가 많아지면 신규업태간의 수평적 경쟁이 야기되고, 이를 통해 각 신규업태는 격올림을 전개한다. 셋째, 신규업태가 격올림을 전개하면 신규업태와 기존업태간의 이업태간 경쟁이 야기되고, 이 경쟁에서 기존업태와 신규업태간의 동화과정이 전개된다. 넷째, 각 소매업태는 기존의 유통기술 프론티어를 돌파하기 위해 유통혁신을 추진하게 되고, 다른 소매업태는 그 혁신자를 추종한다. 위에서 언급한 분석결과를 근거로 하여 본 연구에서는 세가지 시사점을 제언할 수 있다. 첫째, 본 연구는 소매업태가 차별화전략을 추진할 때 사용되는 점포 속성에 대한 소비자의 의사결정과정구도에 대응하면서 최종적으로는 시장점유율의 변화와도 연동하여 논의할 수 있는 소비자선택모델을 구축하였다는 점이다. 둘째, 본 연구는 이러한 소비자선택모델을 토대로 혁신적인 소매업태의 출현과 발전과정에 대한 분석을 보다 정교한 논리 구조에 입각해서 설명하였다는 점이다. 셋째, 본 연구에서의 논의한 소매업태의 발전과정은 시장에서 경쟁우위를 획득하기 위해서 소매업태가 소매믹스를 어떻게 전개할 것인지에 대한 소매업자의 경영관리 측면에서의 해법을 제시하였다는 점이다.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.