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원자력 계통 열수력 해석코드의 부수로 유동혼합 모델 개발
김동위(Dong Wi Kim),정재준(Jae Jun Jeong) 대한기계학회 2018 大韓機械學會論文集B Vol.42 No.10
부수로 유동혼합은 원자로 노심의 냉각수 온도 및 기포율 분포 예측 관점에서 매우 중요한 현상이다. 부수로 해석을 목적으로 만들어진 코드들은 이른바 EM 모델 혹은 EVVD 모델을 채택하여 부수로 유동혼합을 해석하고 있다. 전자는 단상 유동 조건에 적합하며 후자는 단상과 2상 유동 조건 모두에 적합하나 다소 복잡한 점이 있다. 원자력 계통 열수력 해석코드 SPACE 코드는 가압경수로의 설계 및 안전 해석을 위해 개발되었다. 본 연구에서는 SPACE 코드 적용 영역을 부수로 열수력 해석까지 확장시키기 위해, SPACE 코드에 EVVD 모델을 삽입하였다. EVVD 모델이 삽입된 SPACE 코드를 핵연료집합체 실험 자료(GE 9-핵연료 실험, ISPRA 16-핵연료 실험, PSBT 25-핵연료 실험)을 이용하여 평가하였다. 그 결과를 바탕으로 EVVD 모델의 중요 인자인 기포이동계수 KVD를 새로 제안하고 평가하였다. Subchannel flow mixing is mportant for the accurate prediction of temperature and void fraction distributions in a nuclear reactor core. Dedicated subchannel analysis codes have been used for subchannel flow analysis by adopting either the so-called equal mass exchange (EM) or the equal-volume exchange and void drift (EVVD) model. The former is known to be good for a single-phase flow and, meanwhile, the latter is appropriate for both single- and two-phase flows. The nuclear thermal-hydraulic system code, SPACE code, has been developed for the design and safety analysis of a pressurized water reactor. To extend its applicability to subchannel analysis, the state-of-the art EVVD model has been implemented into the SPACE code in this work. The modified SPACE code with the EVVD model was evaluated using the measured data from two-phase flow rod bundle tests (GE 9-rod test, ISPRA 16-rod test and PSBT 25-rod test). Based on the results, a new void drift coefficient KVD was suggested, which is an important parameter of the EVVD model.
시와 풍경의 해독 -Seamus Heaney의 『어둠으로 들어가는 문』
김재준 ( Jae Joon Kim ) 21세기영어영문학회 1999 영어영문학21 Vol.15 No.-
The Idea of poetry as a point of entry into the buried life of feeling, or as a point of exit for it, is prevalent through Door into the Dark. In a comment on Death of a Naturalist Heaney told that poetry`s origin lay in energies that came from his personal remembering. But in Door into the Dark the energies of his poetry`s origin are found equally in language and landscape of the community he belongs to. This means that the scope of the poetry of the second book comes to be deeper and wider than the first book`s. In Door into the Dark Heaney to probe past the autobiographical and into the ancestra1, into the possibility that the sources of psychic and/or spiritual truth lie buried in language and landscape of his community. The strata of memory buried in language and landscape require Heaney to face an actual dread of ``losing`` himself to the primal or instinctual. When Heaney tried to forge the ``uncreated conscience`` of his race in his poetry, he found out that he should step into the dark to erase his strongly established self from his poetry. This means that he can expand and transcend himself only by losing himself. Losing-himself will help him get multiple viewpoints to make his poetry less partisan and more powerful. He asserts that he ``will uncode all landscapes`` just when he is able to see ``things founded clean on their own shapes and learn to lose himself while we are in the dark center of the landscape. The word ``uncode`` suggests the land`s secret, buried history that awaits one who can uncode. Heaney shows that there is an analogy between the secret, hidden activity of the poet and the secret, and hidden activity of the blacksmith and the thatcher. They all are kind of musicians in the sense that they are able to leave the audience surprised by creating the useful, meaningful, ordered things from nothing or the dead things. So Heaney`s uncoding is not only uncovering something buried in landscape but also creating the new meaning of the place. Uncoding all landscapes, Heaney shows how life and death in the human and natural world are inevitably and mysteriously intertwined. He finds thingness in human life and human quality in the things. He finds the beginning and ending of his life in the landscape, and he finds there is just one cycle between both worlds.
어둠의 공명으로서의 시-세이머스 히니의 『산사나무 랜턴』
김재준 ( Jae Joon Kim ) 21세기영어영문학회 2014 영어영문학21 Vol.27 No.3
Motivated by Mikhail Bakhin``s proposition that every utterance is heteroglot and Wolfgang Iser``s theory on reader``s involvement in texts, this paper tries to identify how the poetic discourses in Heaney``s The Hay Lantern are organized. Using a few poems of the above collection, this paper shows that in contrast to the earlier poems such as “digging”, in which all poetic elements are controlled to support a single poetic theme or discourse, the poems of The Hay Lantern loosen the various heterogeneous images, allowing the reader to freely interpret the voices present in the poem. Through the process of reading, the reader becomes aware of the gaps present in the poem, and is more eager to find out what the images and voices have to say. In order to enjoy the poem, the reader has to orchestrate it and needs to become a new creator of the poem, by participating in the poetic game and exploration. It is also important to verify how the discursive poetic elements illuminate the poet``s artistic consciousness. Within the poem a discursive bridge exists between the speaker, reader and other voices present in the text. This bridge encourages the reader to experience the poet``s cultural and artistic origins, and allows the reader to explore the various sources of one’s poetic gifts.
마이켈슨 간섭계와 전자석을 이용하여 정지마찰력이 작용하는 물체의 미소변형분석
노재준 ( Jae June Noh ),김중복 ( Jung Bog Kim ) 한국현장과학교육학회 2020 현장과학교육 Vol.14 No.1
정지한 물체에 최대정지마찰력보다 작은 힘이 가해질 때 물체는 움직이지 않는다고 알려져 있다. 이 연구에서는 마이켈슨 간섭계를 이용하여 정지한 물체에 외력이 작용할 때 미소변형을 측정하였다. 물체에 마이켈슨 간섭계 용 거울 하나를 부착하고, 전자석을 이용하여 서서히 증가하는 힘을 작용하였더니 최대 정지마찰력보다 작은 힘이 작용하는 구간에서도 간섭무늬가 변화하였다. 전자석의 제어와 간섭무늬변화를 측정하는 광센서, 힘의 크기를 측정하는 힘센서는 MBL(Microcomputer Based Laboratory) 장비로 동시에 작동하도록 구성하였다. 딱딱한 재질의 물체(아크릴)과 부드러운 재질(코르크)로 만들어진 물체를 대상으로 실험한 결과, 아크릴의 정지마찰계수는 μ<sub>s</sub> = 0.20 ± 0.01이고, 코르크의 정지마찰계수는 μ<sub>s</sub> = 0.47 ± 0.01로 측정되었다. 물체들이 미끄러지기 전 즉 최대정지마찰력에 도달하기 전까지 미소변형이 측정되었는데, 힘의 크기가 작은 영역에서는 재질에 관계없이 미소변형이 힘에 비례하는 결과를 보여 주었지만, 힘이 커질수록 아크릴의 경우에는 계속 변형의 정도가 외력에 비례하였지만 코르크의 경우에는 외력의 제곱에 비례하여 변화하다가 미끄러졌다. It is known that a stationary object does not move when it is subjected to the force less than the maximum stopping force. In this study, we used a Michelson interferometer to measure the microscopic changes when the external force was applied to the stationary object. When we installed one of the mirrors of the Michelson interferometer on an object was moved by gradually increasing the force using an electromagnet, and the interference patterns were changed even for forces smaller than the maximum stopping friction. The electromagnet control, and the photosensor for measuring interference pattern changes and the force sensor for measuring magnitude of forces are configured to operate simultaneously as Microcomputer Based Laboratory(MBL) equipment. Microscopic changes have been measured to the extent that they cause a pattern change in the Michelson interferometer. The result of this experiments showed that the static coefficient of hard acrylic material is μ<sub>s</sub> = 0.20 ± 0.01, and that of soft cork material is μ<sub>s</sub> = 0.47 ± 0.01. In the static condition, the acryl complied linearly to all strength of the applied force. The compliance of the cork, however, became non-linear when the force was increased beyond the middle range before the cork moved.
시적 발화의 토대로서 방언과 지명 -셰이머스 히니의 『겨울나기』
김재준 ( Jae Joon Kim ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.2
This paper analyzes how the dialect of Heaney’s hometown Derry and its landscape establish the roots of his poetic utterance. Although Heaney continued to expand the range of his poetic utterance and take new models for it, many of Heaney``s early poems are enlivened by a language as it is really used by people in his local region. Heaney himself has an active interest in the phonetic and linguistic study of Ulster dialects and the sound of the place-names. He has the consistent belief that the local words and speech rhythms of the place-names are closely related to the features of the landscape. The dialects and place-names in his early poems are not yet the subject of the poems. They are important because they give him a moment of sinking into the most primitive and forgotten of the common community, so they are fundamental to his attempts to find images and symbols adequate to his predicament. The vision which they have given Heaney while he grows up into a poet includes not only the natural features but the signs of human history within it.