인공위성 화상자료를 이용한 북한의 간척자원 조사

조병진,안기원,Cho Byung-jin,Ahn Kee-won 한국관개배수위원회 2000 한국관개배수논문집 Vol.7 No.2

The tidal land reclamation schemes and projects located along the western coast of North Korea were investigated by the remote sensing using sattelite image data such as Landsat TM and Jers-1 data. North Korea reported their ambitious territory expansion

Application of RS/GIS Integration for the Landuse Planning in the newly Reclaimed Tideland

조병진,유경학,조정청사,Cho Byung-jin,Yoo Kyung-hak,K Torii Korean National Committee on Irrigation and Draina 1997 한국관개배수논문집 Vol.4 No.1

지상관측위성에 탑재된 센서로부터 얻어진 자료는 지리정보데이터로 그 이용이 증가되고 있다. 이 연구에서는 신규간척지에서의 토지이용계획을 수립하기 위하여 위성자료를 이용한 원격탐사와 지리정보 체계를 종합하는 방법의 적용가능성을 다루고 있다. 현재 공사중인 간척사업지구를 커버하는 LANDSAT TM, MOS, SPOT 디지털데이터를 영상화하고, 영산강 3단계 사업지구 유역의 토지이용 현황을 분석하였으며, 신규간척지의 토지이용계획을 위하여 동원가능한 데이터를

인공위성 화상자료를 이용한 북한의 간척자원조사

조병진 ( Cho Byung Jin ),이지근 ( Lee Ji Geun ),안기원 ( Ahn Kee Won ) 한국농공학회 1999 한국농공학회 학술대회초록집 Vol.1999 No.-

The purpose of this study is to investigate on tideland reclamation projects as a part of situation on farm land improvement measures in north korea. By using satellite image data beyond the national boundaries, it makes possible to analyze tideland reclamation projects, and owing to the developed software and procedure we can analyze data regardless of difference in data acquisition date. Satellite image data LANDSA T TM and JERS-l data are mainly used, and analysing software ER Mapper, ERDAS, IDRISI are used. Reclamation survey result made by the ministry of unification in 1994 were examined by means of remote sensing using satellite image data. The results are ; Completed and/or partly completed project are 24,596ha and planned are about 142,223ha, 166,819ha in total. However, they already reported about 300 thousand ha would be reclaimed from the sea in early 1980.

학교교육과정에서의 연극 : 그 위치와 교육과정 계획

조병진(Byung Jin Cho) 한국연극교육학회 1999 연극교육연구 Vol.4 No.-

N/A

유압 브레이커 메인바디의 충격 및 소음 저감을 위한 완충 장치에 대한 연구

조병진(Byung Jin Cho),한훈희(Hoon Hee Han),구정서(Jeong Seo Koo) 한국기계가공학회 2018 한국기계가공학회지 Vol.17 No.4

A hydraulic breaker is an attachment of an excavator, and it crushes stones. Recently, research to reduce the impact and noise of breakers are ongoing. In this paper, a method to improve the upper, lower, and side dampers, which act as insulation for the attenuation of vibration during breaker operation, is studied through testing and simulation. To obtain the nonlinear material constants required for the simulation, the biaxial tensile test was performed with urethane, which is a material used for dampers. The existing parts and the improved parts were compared and evaluated using the LS-DYNA program. As a result, 50% of the equivalent stress was reduced in the bracket body of the hydraulic breaker, and the equivalent stress of the side damper was also decreased. We verified that the fatigue conditions were satisfied by performing a fatigue analysis.

연극교육과 교육연극 초,중등학교에서의 연극지도 - 정규 교과과목으로서의 연극, 그 교과 운영을 위한 기본 전략(1) -

조병진 ( Byung Jin Cho ) 한국연극학회 2002 한국연극학 Vol.0 No.19

Since early 1900`s, the ideas of making use of theatre/ drama as a teaching medium has been spreaded, and tried out in school and for some special social education. The result is to confirm its positive and efficient function as educational medium. Social function of theatre/drama, as a most valuable function, creates the situation of total involvement/confrontation which makes the mobilization of human potentiality and creativity maximal. Also theatre/drama, for education, provides human nature and funny atmosphere through actual experience, and expresses original human nature of which education should begin from considering The theatre for education in nature differentiates from professional theatre. To compare with professional theatre which aims at artistic outcome, the theatre, named educational theatre, places its final goal at education. Then it plays a part as teaching/learning medium. The essential quality of educational theatre should come from educational level, maximizing human growth, but not from professional artistic level, focusing on the audience. It is argued that theatre should be perceived as an essential part of the school curriculum. Then the function of theatre in school is debated in tow major ways, emphasizing theatre`s `contextualist` function, focusing that theatre should be valued for its contribution to education, and suggesting that, while this function is important, at least as a survival strategy, it must not be allowed to subvert the prime `essentialist` function of theatre. The act of theatre/drama is valued as a unique mode of learning to know about human behavior and its consequence. The curriculum planning model can be classified into two categories, central planning and openness. The formal is the widely used and accepted model which is characterized by an essential reliance on `cold,` objective analysis of objective needs and strategies. Also presents the characteristics divorcing from the reality of the learning process which regarded as essentially exploratory, responsive and social. The planning of teaching should be based not so much on an often diversive discussion of `aims,` but on the use of the more pragmatic device of viewing classroom action in terms of specific teacher intention in relation to observed practice. This kind of planning so called openness, would contains whin it a consideration of both instructional and expressive objectives. It is concerned with helping theatre teachers in school increase their effectives in teaching. In any consideration of teaching we must not only discuss `the what` but also `the how` of teaching. Teachers who whish to improve their practice consider the practical problems in an education system which encourages the teaching style of `learning by students` but positively discourages `learning by teacher,` and a number of `discovery-based` teaching models. Typically drama work dose occur in situation which have to be restructured continuously. Each lesson encounter is an exploration of ideas. The extent of the exploration will, however, be determined by the degree of negotiation of task between teacher and student, whether it be planning or its process.

장대화물열차의 분산제어 제동 시 연결기에 발생하는 충격력 해석 및 분석

조병진(Byung Jin Cho),이정준(Jeong Jun Lee),심재석(Jae Seok Shim),구정서(Jeong Seo Koo),문형석(Hyung Seok Mun) 한국기계가공학회 2019 한국기계가공학회지 Vol.18 No.2

In long freight trains, there is a brake time delay in neighboring freight cars, which causes damage and fractures in the couplers, especially at their knuckle. A problem in the couplers of the cars can cause derailment and damages of human life and property. In this study, maximum forces on the couplers are studied when a long freight car brakes with the brake delay time and coupler gap. We make a dynamic model of 50 freight cars and couplers, applying contact between the couplers and a characteristic curve to express the force and displacement of the buffers using SIMPACK, which is a multi-body dynamics program. We use EN 14531-2, which is a standard of freight car brakes, to verify the dynamic model. Then, we compare the analyzed impact force with the coupler knuckle standard after applying the two carriages of a locomotive in the model based on the dispersed double head control system. The result shows that all coupler gap conditions satisfy the infinite lifetime of the material when the brake delay time is 0.1 second.

연극교과 지도 가이드 - 연극수업에서의 교과계획, 교수, 평가 과정 운영 방안 -

조병진 ( Byung Jin Cho ) 한국연극학회 2005 한국연극학 Vol.0 No.27

연극의 교육적 활용 ; 그 가능성과 방향

조병진(Byung Jin Cho) 한국문학교육학회 1998 문학교육학 Vol.2 No.-

Since early 1900`s, the ideas of making use of theatre/drama as a teaching medium has been spreaded, and tried out in school and for some special social education. The result is to confirm its positive and efficient functions as educational medium. Social function of theatre demonstrates the positive value in education. Theatre, as a most valuable function, creates the situation of total involvement/confrontation which makes the mobilization of human potentiality and creativity maximal. Also theatre, for learning, provides natural and funny atmosphere through actual experience, and expresses original human nature of which education should begin from considering. The theatre for education in nature differentiates from professional theatre. To compare with professional theatre which aims at artistic outcome, the theatre, named educational theatre, places its final goal at education. Then it plays a part as teaching/learning medium. However, someone takes its aim at professional theatre work. It might be very dangerous for education which sets its goal to maximize student`s creativity. Professional work atmosphere in a sense may reduce the future of child whose growth is considered as more valuable. Because of being different each other essentially, professional theatre technique itself can not be directly put into practice for educational theatre. The direct application of professional theatre idea often brings about the problems of leaving hurt in some educational process. The essential quality of educational theatre should come from educational level, maximizing human growth, but not from professional artistic level, focusing on the audience. The purpose of the educational theatre might be found from educational medium rather than theatre art itself. The technique of educational theatre are classified into various groups by forms. There are three major kinds of educational theatre forms: Theatre-in-Education, Drama-in-Education, Creative Drama. In addition, six more forms, Children`s Theatre, Dramatic Play, Role Playing, Play Making, Participation Theatre, Developmental Drama, are made efficient use in practice.

서사극의 연기기술

조병진(Byung Jin Cho) 한국연극교육학회 1997 연극교육연구 Vol.1 No.-

For a decade and a half after the First War a comparatively new way of acting was tried out in a number of German theatres and projections as a means of commentary earned it the name of epic. The epic theatre`s actor uses a somewhat complex technique to detach himself from the character he played. The aim of this acting technique, known as alienation effects, is to make the spectator adopt and attitude of inquiry and criticism in his approach to the incident. For this he applies the three major principles of acting; removal of illusion, removal of empathy and abandonment of transformation. To remove illusion the actor never act as if there were a fourth wall besides the three surrounding him. He becomes an eyewitness demonstrating to a collection of people how an incident took place. Acting technique for removal of illusion includes self-observation, addressing the audience directly and expression of his awareness of being watched. Acting technique which produces alienation effect is the exact opposite of that which aims at empathy. The actor applying the alienation effect is bound not to try to bring about the empathy operation. In practicing this technique he should reform from living himself into the part prematurely in any way, and should go on functioning as long as possible as a demonstrator. The demonstrator need not imitative every aspect of his character`s behavior, but whatever he does not do must contain and conserve in what he does. The not, … but technique is important one for this kind acting style. The actor applying the alienation effect does not allow himself to become compltely transformed on the stage into the charactor he is portraying. He remains a demonstratior, he presents the person demonstrated as a stranger, he does not suppress the he did that, he said that element. He uses, as acting technique, exchanging roles, jumping roles, quotation, transposition into the third person, transposition into the past, speaking the stage directions out loud, paraphrasing the verse`s content in vulga prose, developing emotions into a gesture, and historicization.