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김유 충남대학교 공업교육연구소 1983 論文集 Vol.6 No.2(B)
Convective heat transfer coefficients at the nozzle throat were calculated from existing unsteady state exact solution and direct experimental temperature measurements. Results were compared to the prediction from Bartz's simple correlated equation and other experimental data. The test results well agreed with other experimental data except initial combustion phase. Bartz's prediction was considerably higher than experimental value. Temperature was measured with 8 thermocouples from four different depth of nozzle throat. Combustion material was composite of ammonium perchlorate, polybutadiene and 2% of aluminium.
김유 한국외국어대학교 영미연구소 2014 영미연구 Vol.31 No.-
Howard Brenton’s play Weapons of Happiness seems to be caughtbetween the political situation, where positive, constructive utopian designsare no longer possible, and the critical atmosphere, where evensympathetic left-leaning critics join in the general criticism of the lack ofclear political vision in the play. In fact, to a degree, Weapons ofHappiness avoids the definition of the socialist ideal, and the achievementof vision is postponed. This huge gulf between the ideal and the real inWeapons of Happiness misleadingly has made the critics condemnBrenton’s lack of political message or has forced them to find the core ofthe play only in apocalyptic aspect. However, the nature of the conflictbetween historical vision and social reality in Weapons of Happiness shouldbe examined in the context of the establishment of more activerelationship with the audience. This essay argues that instead of the failedrevolutionaries in the play, it is the audience who must perform the hardwork of analysis and make the connections in Weapons of Happiness. In Weapons of Happiness, the series of contradictions largely revolvesaround the huge gap between historical vision and contemporary reality. The historical perspective provided by the political leaders at the ‘macro’level of history including revolutionary vision and heroism is contradictoryto the dreary reality of the workers at the ‘micro’ level of history. In two separate but interrelated storylines, one relates Josef Frank’s fragmentedrecall of his revolutionary past, and the other charts the on-the-spotevents of the workers’ endeavor to achieve the revolution. The two seriesof events collide with each other, maximizing the audience’s criticalassessment of their own role in history. In the play, the past is suggestedas a fundamental foundation on which the present is constituted, andagainst the future, the present is measured and founding wanting. Theutopian potential of final word depends upon the audience.