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공침법에 의한 소결첨가제의 균일혼합이 $Si_3N_4$ 상압소결체의 기계적 특성에 미치는 영향
김지순 한국세라믹학회 1993 한국세라믹학회지 Vol.30 No.4
Effect of mixing homogeneity in powder mixtures of Si3N4 and sintering additive (10mol% YAG) prepared by coprecipitation on the mechanical properties of pressureless-sintered body was investigated. Sintering was performed in a graphtie furnace at 1850℃ for 0.5h under 0.15MPa N2 atmosphere using Si3N4 powder bed. Results from the measurement of Young's modulus, Vickers hardness, 4-point-bending strength, and KIC for the coprecipitation-treated (CP) and the mechanically-mixed specimens(MM) showed that a remarkable improvement in flexural strength and Weibull parameter can be achieved for the CPspecimens: (677±68MPa, 12.0) for CP samples and (539±108MPa, 5.5) for MM. Other properties were almost same irrespective of preparation methods.
김지순 이화여자대학교 음악연구소 2000 이화음악논집 Vol.4 No.-
Solo concerto became predominant over concerto grosso and the keyboard became the most preferred instrument for the solo concerto during the Classic period. At the same time, the traditional approach to the formal aspect in the concerto first-movement underwent decisive changes. Yet the textural contrast was still the basic principle to determine the form. H. C. Koch, in one of the most comprehensive composition treatises of the period, Versuch einer Anleitung zur Composition (1782-93), provides the most detailed description of concerto form to appear in the latter part of the 18th century. Koch first describes the opening movement in terms of textural divisions, i. e. an alternation of tutti and solo section. The core of the structure is formed by the three solos and the ritornellos are labeled as secondary section. Koch equates the three solo sections of the form with the three principal divisions of sonata form, i.e. exposition, development, and the recapitulation. The idea that the concerto first-movement as a modification of the sonata form took the definitive form by the late nineteenth-century English theorist, Ebenezer Prout. Prout in his Applied Forms(1895) describes the first movement as a modified sonata form with a distinctive formal deviation known as the “double exposition.” Until well into the twentieth century, scholars and theorists understood the concerto first movement of the late 18th century between earlier description of a simple ritornello form and the later idea of a concerto as a modified sonata form. Karol Berger, in his article “The First-Movement Punctuation Form in Mozart's Piano Concertos,” approached the concerto first-movement according to the principle of punctuation. Berger's “punctuation form” is based on the rhetorical idea that music as a discourse is articulated like speech into a hierarchy of parts by means of stronger and weaker cadences. Musical composition is the hierarchical organization of phases, which is developed by a degree of cadences. According to the punctuation form, the first movement of Mozart's piano concerto, K. 453, is divided into two parts. Each part consists of two periods; the first part is divided into the first and second period; the second part into the third and fourth period. Each period is divided into two sections except for the third period. Each section consists of two phrases, sometimes with an added closing phrases. The punctuation structure of K.453/i shows that only three cadences deviate from the normal patterns systematized by Berger. At the boundaries of the phrases, which is the smallest unit of musical discourse in Berger's theory, theme, harmony, and voice(solo versus tutti) as well as dynamics and texture collaborate to produce the sense of punctuation. Analysis solely in terms of one or the other formal type will result in a distorted impression of the work. When the punctuation form is combined with the structural principle of ritronello and sonata form, the punctuation plays the central role in the interaction of voice, harmony, and theme and the first-movement of Mozart's piano concertos best be understood.
김지순,안숙희 한국여성건강간호학회 2022 여성건강간호학회지 Vol.28 No.3
Purpose: The purpose of this study was to construct a hypothetical model based on Meleis and colleagues’ Transition Theory and a literature review to explain women’s menopausal transition, constructing a modified model considering previous studies and model fit and testing the effects between variables.Methods: With a correlational survey design, middle-aged Korean women aged 40 to 64 years who had experienced menopausal symptoms were recruited and filled out a self-administered study questionnaire. Measures included menopausal symptoms, resilience, social support, menopause management, menopause adaptation, and quality of life. The data were analyzed using SPSS 24.0 and AMOS 24.0.Results: The model fit indices were considered acceptable: χ2/degree of freedom=2.93, standardized root mean residual=.07, comparative fit index=.90, and parsimonious normed fit index=.73. All eight direct-effect paths—from menopausal symptoms to support and adaptation, from support to adaptation and resilience, from resilience to adaptation and management, from management to quality of life, and from adaptation to quality of life—were significant. The explanatory power of the menopause transition model was 63.6%.Conclusion: Women who experience menopausal symptoms may be able to maintain and improve their quality of life if menopause management and menopause adaptation are successful through resilience and social support. Future research is needed to confirm whether strengthening facilitation as a nursing intervention strategy may promote healthy response patterns.