동굴 공간의 안전과 방재차단벽

김보수 ( Bo Su Kim ),김강원 ( Kang Won Kim ),김태환 ( Tae Hwan Kim ),박정호 ( Jung Ho Park ),이영재 ( Yung Jae Lee ),소대화 ( Dea Wha Soh ) 한국동굴학회 2008 동굴 Vol.87 No.-

The automatic firewall block and fire alarm system was embodied by using gas circuit and wireless communication equipment, using a smoke sensor (ST-QA1A) and RF Module. OR-CAD was also used for testing circuit system and experiment circuit after assembling circuit. As a result in experiment, the gas sensor detected well an imaginary smoke and worked reliably for driving action of firewall block motor and wireless warning alarm. Through the smoke sensitive perception from the fire, the warning alarm and the preventing fire propagation from the specific closed region were verified reliably. The gas sensor and RF module for firewall and fire alarm system were actually available.

발전사업자와 부하사업자의 손실특성을 고려한 송전비용산정기법에 관한 연구

김강원(Kim Kang-Won),정구형(Chung K.H),신영균(Shin. Y.G),김발호(Balho.H. Kim) 대한전기학회 2003 대한전기학회 학술대회 논문집 Vol.2003 No.11

서울시 주요 등산로의 토지소유 갈등관리

김원주(Won-Ju Kim),강원삼(Won-Sam Kang),김강민(Gang Min Kim) 서울연구원 2019 서울연구원 정책과제연구보고서 Vol.- No.-

서울시 주요 등산로의 토지소유 갈등관리

김원주(Won-Ju Kim),강원삼(Won-Sam Kang),김강민(Gang Min Kim) 서울연구원 2019 서울연구원 정책과제연구보고서 Vol.- No.-

텔레비전 역사드라마 〈태왕사신기〉에서의 역사 서사 연구

김강원(Kim Kang-won) 중앙어문학회 2008 語文論集 Vol.38 No.-

After the cold war, nationalism has more emerged since the 2000's. This situation is more and more intensified in not only Korea but also Japan and China. So it is reality that history dispute of adjacent east north asia countries is serious. Firstly, this article investigated where nationalism is placed in 2000's topographical map.Through doing this, this article will focus on history drama made in this period as example of cultural marketing by nationalism. As we know, the drama of histiry is a kind of alternative when nationalism of all of the world as well as Korea, China and Japan is being intensified. This means that history drama can reproduce past history and remake what we want. Of course this alternative is corrupted and escape. However, it is successful strategy that marketing of history drama promoting nationalism catch the sense of the times and correspond requirement of the times. 〈TaeWangSaShinGi〉 is significant text as a milestone that remind meaning of ‘history’ and ‘nation’ in recent culture and a genre of new ‘history drama’. But there is no history and nation in 〈TaeWangSaShinGi〉. 〈TaeWangSaShinGi〉 lost historical particularity because of an arbitrary interpretation. Emphasis of ‘nation’ is just national marketing. 〈TaeWangSaShinGi〉 wear a mask of history drama but this drama is just fusion of modern trend and image of multinational legend. So, This is a matter of grave concern that 〈TaeWangSaShinGi〉 came into spotlight. Modern people consume and memorize ‘history’ through not history book but mass media. Therefore, history drama should consider a kind of healthy responsibility when drama talk about history to people.

송전손실지수 산정의 신뢰도 제고에 관한 연구

金康元(Kang-Won Kim),韓錫萬(Seok-Man Han),金發鎬(Balho H. Kim) 대한전기학회 2007 전기학회논문지 Vol.56 No.1

Transmission Loss Factor (TLF) is one of the key factors affecting transmission pricing which should capture the intrinsic characteristics of competitive electricity markets and be amenable to the agreement of the market participants. This paper proposes a practical methodology which enhances the utility and applicability of TLF which is vulnerable to the choice of slack bus, computation methodologies, and incremental generation (or incremental load). The proposed methodology is demonstrated with a case study.

TV 역사드라마 〈대장금〉에서 구현된 영웅서사의 중층적 의미 고찰

김강원(Kim, Kang-won) 중앙어문학회 2013 語文論集 Vol.55 No.-

Historical dramas on television have been changed since the late 1990’s. 〈DaeJanGeum〉 is the climax of the change. A great part of the historical dramas is telling about a story of kings. But 〈DaeJanGeum〉 is focused on not a king(or history) but a personal story. The ‘history’ degenerates into the device of stimulating romance of the old-fashioned things. Also, 〈DaeJanGeum〉 has a structure for description of hero because of focusing on a personal story. However, this story of hero bears a close parallel to animation and game. Like 〈DaeJanGeum〉, the genre and boundary of recent historical dramas is beginning to disappear. Therefore, it is increasingly important to study historical consciousness and veracity for which recent TV historical dramas aim.

비호지킨 림프종에 대한 CHOP 및 CHOP / IMVP - 16 복합화학요법의 치료 효과

강원기(Won Ki Kang),윤성수(Sung Soo Yoon),신동복(Dong Bok Shin),강윤구(Yoon Koo Kang),박근칠(Keun Chil Park),방영주(Yung Jue Bang),김병국(Byoung Kook Kim),김노경(Noe Kyeong Kim) 대한내과학회 1989 대한내과학회지 Vol.36 No.3

N/A The authors compared retrospectively two regimens, CHOP and CHOP/IMVP-16 for the patients with intermediate and high grade non-Hodgkin's lymphoma. Between September 1982 and May 1984, 48 patients were treated with cyclophosphamide, adriamycin, vincristine, and prednisone (CHOP), and between June 1984 and November 1986, 70 patients were treated with alternating chemotherapy with CHOP and ifosfamide, methotrexate, and VP-16 (CHOP/IMVP-16). Median age was 42 (range 20-64) in CHOP group and 50 (range 16-74) in CHOP/IMVP-16 group and M:F ratio was 42:6 and 50:20 in each group respectively. No patients had received any previous cytotoxic chemotherapy. The most common histologic types were diffuse histiocytic (DH) and diffuse poorly differentiated lymphocytic (DPDL) with DH 36/48 (75%) and DPDL 6/48 (12.4%) in CHOP group, and DH 50/70 (71.4%) and DPDL 15/70 (21.4%) in CHOP/IMVP-16 group. CHOP consisted of cyclophosphamide 1 g/㎡ 4, day 1; adriamycin 40 ㎎/㎡ 4, day 1; vincristine 2 ㎎/m 4, day 1&8; and predrisone 60 ㎎ PO, day 1-10. And IMVP-16 consisted of ifosfamide 1 g/㎡ 4, day 1-5; methotrexate 30 ㎎/㎡ 4, day 3&10; and VP-16 100 ㎎/㎡ 4, day 1-3. Courses were repeated every 3 weeks. In CHOP/IMVP-16 group, CHOP and IMVP-16 were given alternatingly. Treatment was continued until the disease progression or complete remission (CR), for a total of minimum of 6 cycles. Responses were CR 25/48 (52%) and PR 17/48 (35%) in CHOP group and CR 38/70 (54%) and PR 22/70 (31%) in CHOP/IMVP-16 group. Median duration of response in complete responders was 17.7 months (range 3.0-77+) in CHOP, and 18.4 months (range 2.2+~48.3+) in CHOP/IMVP-16 group. And, in complete responders, 3-year disease-free survival rate is 32.5% and 39.2% in CHOP group and CHOP/IMVP-16 group respectively. Median survival time was 17.5 months (range 3.4~80.4+) in CHOP group and 22.7 months (range 1~51+) in CHOP/IMVP-16 group. There was no statistically significant difference between CHOP and CHOP/IMVP-16 groups.

1/4 마력급 압축기의 성능 개선을 위한 SPIM 회전자의 충진율에 관한 연구

김강원(Kang-Won Kim),안현진(Hyun-Jin Ahn),최준호(Jun-Ho Choi),한재현(Jae-Hyun Han),김의선(Eui-Sun Kim),임영철(Young-Cheol Lim) 한국조명·전기설비학회 2015 조명·전기설비학회논문지 Vol.29 No.8

This paper discusses to the capability improvement of the 1/4 HP compressor. And, for efficiency improvement of the single phase induction motor, this paper has proposed a casting method to improving the fill factor of the rotor of the single phase induction motor. First, by using FEM, it was analyzed the magnetic flux distribution and the fill factor to the SPIM rotor by the conventional method and the proposed method. And, based on the FEM analysis results, SPIMs are manufactured by the each casting process. Through experiments using dynamometer, they were compared and measured to their efficiencies. In addition, through experiments using Calorimeter, we have analyzed the refrigerating capacity of the compressor of which they were applied. Based on the results of the previous two experiments, they are to verify the validity of the proposed method.

<노량진역에는 기차가 서지 않는다>의 시공간적 상징을 통한 내러티브 구축과 확장 연구 ― 시선(視線)과 공간의 밀도, 시한부 모티프를 중심으로 ―

김강원 ( Kim Kang-won ) 현대문학이론학회 2018 現代文學理論硏究 Vol.0 No.73

‘노량진’으로 대표되는 고시열풍은 단순히 젊은이들의 일자리 문제가 아니라 그간이 사회의 교육시스템, 고용시장과 근로문제, 삶의 질적 가치에 대한 문제가 집약된 결과물이다. 최근의 TV드라마들, 특히 단막극들은 이러한 문제에 주목하고 있는데 <노량진역에는 기차가 서지 않는다>는 바로 이 ‘노량진’이라는 시공간의 문제를 직시하고 있는 수작으로 꼽힌다. 이 글에서는 <노량진역에는 기차가 서지 않는다>가 노량진이라는 시공간적 상징을 통해 내러티브를 구축해가고, 그 의미를 확장해 가는 방식을 연구하고자 한다. 이 작품에서는 노량진이라는 공간과 죽음과 시험을 앞둔 시한부의 시간 설정이 뚜렷이 전면에 드러나 있고 이는 사건과 갈등, 그리고 존재에 대한 세계관을 통해 구축되고 확장되는 작품의 내러티브와 밀접한 연관을 맺고 있어 이러한 접근이 한층 의미를 갖는다. <노량진역에는 기차가 서지 않는다>는 노량진이라는 물리적 장소가 가진 사회적 함의에 적극적으로 기대어 공간으로 추상화하고 있는 방식이 흥미롭다. 노량진이라는 지명을 들으면 떠올릴 수밖에 없는 이미지들과 내러티브들을 충실히 시각화하여 드러내고 있는 것이다. 주인공인 ‘희준’을 비롯한 고시생들에게 노량진이란 “꿈의 무덤”이라 명명되는 갇힌 공간이다. 합격하거나 포기하지 않고는 벗어날 수 없는 공간의 폐쇄성을 카메라는 가까이 다가가거나 내려다보며 숨 막히게 보여준다. 밀도를 통해 공간의 폐쇄성을 보여주는 것이다. 그리고 ‘유하’라는 환상적 존재를 통해서 잠시나마 그 밀도를 해소하며 노량진의 숨 막힘에 균열이 발생한다. 이처럼 <노량진>은 공간에 대한 묘사를 통해 노량진에서 소비하는 청년들의 삶에 대한 회의와 의문에 대한 내러티브를 효과적으로 구축하고 있다. 현대인들은 신자유주의적 ‘시간 관리’의 압박에 시달린다. 시간의 관리가 곧 개인의 능력으로 직결되는 신자유주의적 가치관에서 시간은 존재의 가치가 아닌 관리의 대상으로 전락한다. 남자 주인공 희준의 시간은 이처럼 관리의 대상을 그대로 형상화 하고 있다. 고시를 앞둔 희준의 시한은 분과 초 단위로 나뉘어져 관리하고 감독하여 유용하게 사용해야할 상품적 가치이자 교환가치이다. 희준의 현재는 연애와 노는 것과 교환되어야만 얻을 수 있는 미래와 대치된다. 여자 주인공인 유하의 시간을 존재의 의미를 갖는다. 이는 희준을 비롯한 현대인들이 상실한 시간의 가치이다. 유하의 시간은 가까이 다가온 죽음을 전제하고 있다. <노량진역에는 기차가 서지 않는다>는 이러한 죽음, 특히 죽음을 목전에 둔 시한부 인물을 통해 현재적 삶의 의미를 회의 한다. The " Noryangjin " wave is not just a matter of jobs for young people, but a result of the educational system, employment market and labor problems, and quality of life. As mentioned above, recent TV dramas, especially one-act dramas, are paying attention to this problem. In particular, < The train does not stop at Noryangjin Station > is considered to be a way to face the problem of time and space. In this article, we will study how this work builds and expands the meaning of the painting through the spatial and spatial symbol Noryangjin. Especially, < The train does not stop at Noryangjin Station > is clearly visible in front of the space called Noryangjin, and the time setting for the time of death and test. It is closely related to events and conflicts, and to the evolutive of works that are built and expanded through the world view of existence. This approach is more meaningful. It is interesting to see that in < The train does not stop at Noryangjin Station >, the social meaning of Noryangjin, a physical place, is actively being relied on for space. The names " Noryangjin " are faithfully visualizing images and images that can only be recalled. Noryangjin, a dream tomb, is a confined space for the students. The camera shows a breathtaking view of the closure of space, which can not escape without passing or giving up. The density of space shows the closure of space. And we're going to do that for a while, with the fantastic existence of oil. Cracks form in the suffocation of noriancy. As such, < The train does not stop at Noryangjin Station > effectively builds a conference about the lives of young people in Noryangjin and a mysterious narrative through a description of space. Modern people are under pressure from neo-liberalistic "time management." In a neo-liberalistic sense of value, where managing time is directly linked to individual capabilities, Time is reduced to management, not to the value of existence. The time of the hero, Ha Joon, depicts the object of his management. The deadline before the notice is the product value and exchange value that must be managed and monitored in two seconds. Ha-joon's character is now confronted with a future that can only be achieved if it is exchanged for love and entertainment. The time of the heroine Yoo-ha means existence. It is the value of time lost to modern people including Ha-joon. Yoo-ha's time presumes near death. < The train does not stop at Noryangjin Station > discusses the meaning of current life through these deaths, especially those who are close to death.