[구조강도] 자동차 정면충돌 시의 승객거동 최적화

박신희(Shinhee Park),한동철(Donghul Han) 한국자동차공학회 1999 한국자동차공학회 춘 추계 학술대회 논문집 Vol.1999 No.11_2

To reduce computing time and model efforts, The hybrid modeling method of the vehicle component has been developed by using beam element and nonlinear spring element to which axial and bending collapses are applied. A new vehicle is designed using the hybrid modeling scheme along the design process. Crashworthiness analyses of the hybrid vehicle model is executed and the results are compared with those of full car analysis using shell elements. Occupant simulations on impact condition have also been performed on the shell model as well as the hybrid vehicle model. Relatively good agreement is achieved between these analyses, while the computing time is significantly reduced for the proposed method. Finally, the optimization of occupant behavior using genetic algorithms is performed.

이란 사파비왕조(1501~1722) 청화도기에 보이는 중국 수출자기의 영향

朴信喜(Park Shinhee) 미술사연구회 2013 미술사연구 Vol.- No.27

Following the increase in marine trade in the eighth century, Chinese ceramics emerged as an important product in seafaring trade between East and West. The fragility, weight and volume of ceramics were such that the sea, which offered greater stability and allowed the carrying of heavier loads, provided a more suitable option for transport than land routes. This fact is confirmed by the huge quantities of ceramic shards, dating from the Tang to the Qing dynasties, which had been excavated at the major international marine trading outposts on the way to the West Asia, including the Malay Peninsula, Indonesia, Sri Lanka, India, Iraq and as well as Egypt. Chinese ceramics in the collections of Iran’s Ardebil Shrine and Turkey’s Topkapi Palace Museum, moreover, offer us some idea of the large quantity in which they reached Iran and neighboring countries. Chinese ceramics were unfailingly copied in every region that they reached, offering further proof of the high demand for them. This study explores the influence, divided into four distinct periods, of Chinese export porcelains on blue-and-white wares of the Safavid Dynasty(1701~1722), the most powerful Persian political entity since the Sasanian Empire. This period saw the production of the finest and most advanced pieces in the history of Islamic ceramics; it is also the period that showed the greatest influence from Chinese export porcelains. The study begins by examining the various styles of Chinese export wares that reached Persia at the time, their forms and routes by which they reached West Asia, in order to explain their particular characteristics. Chinese export wares reached the Safavid Dynasty during the late-Ming and early-Qing dynasties by three routes: tributary trade; trade via European East India companies; and through trading by hawkers at major international trading ports in Southwest and Southeast Asia. Safavid blue-and-white wares imitating the Chinese export wares that reached Persia via these three routes can be divided into the following four periods, according to different characteristics. The first period, which spans the 16th century, is that during which blue-and-white wares inherited characteristics from those of the preceding Timurid Dynasty. The second period, in the first half of the 17th century, saw unprecedented support for the arts on the part of the Safavid Dynasty. The third, in the second half of the 17th century, saw a decline in royal authority but an emphasizing of tradition and independence in Persian culture, while the fourth period spans the end of the 17th and beginning of the 18th century and saw the collapse of the Safavid Dynastye amid economic difficulties, religious persecution, chaotic public sentiment and threats from neighbouring countries, accompanied by the influence of new porcelains from the Qing Dynasty. Finally, the study attempts to explain the circumstances that allowed the potters of the Safavid Dynasty to produce ceramics similar to those of China and which were of a higher quality than those in other West Asian countries at the time and of previous eras.

The Guidonian Hand(귀도의 손)

朴信姬 ( Shinhee Park ) 漢陽大學校 音樂硏究所 1987 音樂論壇 Vol.3 No.-

"The Guidonian Hand," invented by Guido d'Arezzo for teaching solmization, superbly organizes the core of music theories available throughout the Medieval and Renaissance periods. This article seeks to explain the logical and coherent arrangement of locus, vox, deduction, and clavis which are all 73 different pitch functions in "The Hand," with references to the symbolism of the Trinity, that is, the concept of perfection in that period.

고대 희랍으로부터 중세 Hermannus까지 음계체계 발전의 이론적 필연성

朴信姬 ( Shinhee Park ) 한양대학교 음악연구소 1988 音樂論壇 Vol.4 No.-

By following the evolution of the gamut systems of the ancient Greeks through the Medieval period, this paper presents a theoretical study of tetrachordal structures and their relationship to the modes they create. Analysis of the gamut systems reveals not only the weakness of the system used in Musica Enchiriadis, but also the anomalous construction of the finalis G in contrast with the paralleled three finalis A, B, C with D, E, F in Micrologus. This analysis confirms Hermannus' modal affinity which clarified the confusion around the Hypomixolydian by illustrating a different collection of tetrachords in the range of the Dorian mode. Riemann points out that it was Boethius who conveyed the antique theory to the medieval period by a displacement of a fourth which caused the series of proslambanomeni to appear from A to g, rather than E to d(Ex.2). By following Riemann's understanding of Boethius's theory(Ex.5.1), modes can be constructed with characteristic octaves based on proslambanomeni which do not correspond(Fig.1). Identical mode names should be kept on the same pitches between the original and displaced proslambanomeni(Ex.5.2) in order to correspond modes with their characteristic octaves(Fig.2). However, if the Hypomixolydian is added, the eighth proslambanomenos and its characteristic octave based on the mode no longer correspond with each other in the original proslambanomeni(Fig.3). Only through a fourth transposition as suggested by Boethius does Hypomixolydian finds its correct placement in relation to its proslambanomenos and its characteristic octave(Fig.4). This suggests that Boethius's misinterpretation of Ptolemy's antique scales should be reconsidered as more than a pure error.

충돌안전 성능 개발

임재영(Jaeyoung Lim),박신희(Shinhee Park) 한국자동차공학회 2015 오토저널 Vol.37 No.3

유아 놀이성과 사회정서발달 관계에서 부모-자녀 상호작용의 매개효과

고현(Go, Hyun),박신희(Park, ShinHee),백지성(Baek JiSeong) 동아인문학회 2020 동아인문학 Vol.53 No.-

본 연구는 유아 놀이성과 사회정서발달 관계에서 부모-자녀 상호작용의 매개효과를 실증적으로 분석하는데 목적이 있다. 본 연구의 목적을 달성하기 위해 G광역시 유치원과 전라남도 J유치원에 재원 중인 만4~5세 유아와 유아의 부모 350명을 연구대상으로 선정하여 2020년 9월 7일부터 11일까지 5일 동안 설문조사를 수행하였고, 최종 315부가 본 연구를 해결하는 기초 자료로 활용되었다. 수집된 자료는 SPSS프로그램을 통해 다음과 같은 연구 결과를 도출하였다. 첫째, 유아 놀이성, 부모-자녀 상호작용, 사회정서발달 간의 유의한 관련성이 나타났고, 유아 놀이성과 부모-자녀 상호작용은 유아 사회정서발달을 예측하는 변인으로 나타났다. 둘째, 유아 놀이성과 부모-자녀 상호작용관계에서 부모-자녀 상호작용의 매개변수로서 유의한 효과가 있는 것으로 나타났다. 이는 가정환경에서 유아의 사회정서발달을 위해 놀이중심 활동의 중요성을 시사하고 있다. 또한 유아 놀이 활동 속에서 이들의 사회정서발달을 위해 부모의 언어적, 정서적, 행동적 상호작용을 위한 실천적 함의를 제시하였다는데 의의가 있다. The objective of this study is to empirically analyze the mediating effects of parent-child interaction on the relation between children’s playfulness and socioemotional development. To achieve the objective of this study, this study performed a survey targeting total 315 parents of children in their 4~5 year old of kindergartens in G metropolitan city, for five days from September 7th to September 11th 2020. Using the SPSS Program for the collected survey data, this study conducted the frequency analysis, descriptive statistics, reliability verification, correlation analysis, and multiple regression analysis, and the results of this study are as follows. First, there were significant correlations of children’s playfulness, parent-child interaction, and socioemotional development while the children’s playfulness and parent-child interaction were the variables predicting the socioemotional development of children. Second, the partial-mediating effects of parent-child interaction were significant on the relation between children’s playfulness and parent-child interaction. The significance of this study is to imply the importance of play-centered activities at home environment for the socioemotional development of children, and also to present the practical implications for the linguistic, emotional, and behavioral interactions of parents for their socioemotional development.

Mario Davidovsky의 Synchronisms 제 1 번 : 音度 분석을 중심으로

朴信姬 이화여자대학교 음악대학 1991 音樂藝術論壇 Vol.- No.1

This paper on synchronisms for Flute and Tape by Mario Davidovsky, composed in 1963, presents an analysis of linear and harmonic structures which welded flute and electronic sounds into an integrated whole. The electronic part in the synchronisms includes flute­like sounds. Acoustically, certain tones of the flute are simple, and therefore of the almost identical quality as those of sine tone, as shown in Fig.1. The averages of all of the tones in the lower and middle registers of the flute, as shown in Fig.2, lead to the conclusion that the tone of the flute is characterized by few overtones with the octave partial predominating. The tones of the highest register are characterized to be practically simple tones. In the Synchronisms filtering and amplitude modulation provide close timbrel similarities of flute sounds. The Synchronisms is divided into six sections: Section Ⅰ, from the beginning to the cue "stop #3" (Exx.1­6); Section Ⅱ, to the pitch c_7 just before the cue "start #4" (Ex.7); Section Ⅲ, to the pitch e_6 before the cue "stop #4" (Ex.8); Section Ⅳ, to the cue "stop #4" (Ex.9); Section Ⅴ, to the pitch g_7 before the cue "start #5" (Ex.10); and Section Ⅵ, to the end of the piece (Ex.11). In this work, Davidovsky seems to use pitches freely. However, closer investigation proves that all structural pitches are derived from the three main notes, B^b, C^# and D, at the beginning of the piece, as shown in Ex.1a. This melodic line inverted in the next phrase as E­C^#­C, as shown in Ex.2a. The structural pitches are emphasized by dynamic accents (Exx.3,7, 8 and 10), by longer durations (Ex.4), by registral and rhythmic emphases (Exx.5 and 11), and by timbrel contrast (Exx.6 and 8). Only in a few instances have tempered electronic pitches been employed in the Synchronisms. Throughout the piece, the tape has been used as an integral part of enriching the instrumental color.