[NEW YEAR ESSAY 2024] 이경돈 서울디자인재단 대표 : 당신의 초발심(初發心)은 무엇인가?

이경돈 중앙일보에스 2024 Forbes Korea = 포브스 코리아 Vol.2024 No.1

Color for Public or Private

이경돈,정유나 한국색채학회 2006 한국색채학회 학술대회 Vol.2006 No.9

플라스틱 범퍼 해석에서 모델의 단순화가 결과에 주는 영향에 대하여

이경돈 한국소성가공학회 1992 한국소성가공학회 학술대회 논문집 Vol.1992 No.3

390MPa급 고장력강판의 겹치기 레이저 용접에서 부분용입 용접의 적용 가능성에 대한 연구

이경돈,박기영,김주관 대한용접접합학회 2002 대한용접·접합학회지 Vol.20 No.2

부동산과 금융 ; 부동산거래유형과 쟁점

이경돈,전경준,한용호 서울대학교 금융법센터 2007 BFL Vol.21 No.-

이광수와 근대 우화의 소설적 전유

이경돈 한국현대소설학회 2007 현대소설연구 Vol.- No.33

1926년 1월 5일부터 동아일보에 연재된 장편소설 千眼記는 이광수의 작품 계보 속에서 매우 특별한 존재이다. 유일한 우화 형식이기도 하지만, 미완을 이유로 논의에서 제외되었던 작품이다. 千眼記는 1인칭 서술자인 ‘나’와 세상 구석구석을 돌아다니며 인정세태를 ‘나’에게 들려주는 ‘파리’를 주 인물로 삼았다. 이광수는 우화세계에서 소환된 ‘파리’의 초인간적 능력과 윤리적 순결성을 이용해 현실문제에 강력한 풍자를 감행하여 조선의 비평자로서 자임하고자 했다. 그러나 유사한 구조를 지닌 풍자우의형 단형서사 사회풍자 은파리와 비교해 볼 때, 서술자이자 주인공인 ‘나’의 설정으로 인해 점차 ‘파리’가 서사에서 소외되면서 풍자성은 사라지는 것을 확인할 수 있다. 이광수의 시도는 개인사적 의미 외에도 대중의 등장을 겨냥한 것으로, 사회풍자 은파리가 보여준 강력한 풍자를 통해 대중과 만나는 근대소설을 쓰고자 했으나, 근대소설에 대한 그의 글쓰기 의식은 우화세계와 충돌하였고, 결국 서사가 파탄에 이르며 미완으로 종결되고 만다. Cheonangi which was serialized in Dong-a daily newspaper from Jan. 5 in 1926 was a very special work in his genealogy. The work was only fable method and excluded for its incompletion. Cheonangi adopted the first person narrator I and the fly which told social conditions all over the world as main characters. Lee Kwang-soo posed himself as a critic in Chosun by radical satire on social problems making use of the fly summoned from the fable world. The fly had a ability like a superman and ethical innocence. But in Social Satire Eunpari, he lessened satiric peculiarities. Because he made I the narrator and protagonist, the fly was isolated. His try was very meaningful in his private history. Also, aiming at masses, like in Social Satire Eunpari he wanted to write modern novels which met the masses by radical satire, but his Ecriture to modern novels conflicted with fable world, after all narration was disrupted and finished incompletely.

자동차용 강판의 겹치기 $CO_2$ 레이저 용접에서 용접속도와 판재간격에 따른 용접특성 연구

이경돈,박기영,김주관 대한용접접합학회 2002 대한용접·접합학회지 Vol.20 No.4

Recently the laser welding technology has been applied increasingly for the automotive bodies. But the lap joint laser welding for 3 dimensional automotive body is new while the butt joint laser welding is well known as the tailored blank technology. In this study, the process window was found for the full penetration welding of the lap joint of the 1mm-thick high strength steel sheets. The limit curves and characteristic curves were suggested to define the boundaries and the contour lines in a space of the welding speed and the gap size. The characteristics of the weld sectional geometry were used to determine the limit curves. They are bead width, penetration depth and sectional area. After the observed data was analysed carefully, it was noticed that there was a transition point at which the sectional shape was changed and the bead area jumped as the welding speed was increased. Also a new concept of 'input energy Per volume' was suggested to distinguish the difference at the transition Point. The difference of sectional areas at the transition point can be related to the dynamic keyhole phenomena.

390MPa급 고장력강판의 경치기 레이저 용접에서 부분용입 용접의 적용 가능성에 대한 연구

이경돈,박기영,김주관 대한용접접합학회 2002 대한용접·접합학회지 Vol.20 No.2

After high power lasers are avaliable in the commercial market, the number of applications of the laser welding has been increased in manufacturing industries. Although the tailored blank laser welding of butt jointed steel sheets is well known recently in the automotive industries, the lap joint laser welding is a new technology to the automotive manufacturing people as well as the design people. But the deep penetration laser welding seems to be preferred to the partial penetration welding for the lap joint welding in the automotive manufacturers because the partial penetration is a serious deflect for the butt joint. In this study, the feasibility of partial penetration welding fur the lap joint $CO_2$ laser welding was studied fur the 1mm thick 390MPa high strength steel sheets for automotive bodies. The process window of the lap joint partial penetration welding was obtained from experiments with the gap size and the welding speed as process parameters. The partial penetration welding was found excellent on the basis of the tensile shear strength and sectional geometry. The bead width, input energy Per volume, tensile-shear strength, deformation energy and the sectional geometries after tensile-shear tests of partial penetration welded specimens are compared with those of full penetration welded specimens with a series of gaps and welding speeds.

특징영역별 분산분석에 의한 이종두께 겹치기 $CO_2$ 레이저 용접에 대한 연구

이경돈 대한용접접합학회 2002 대한용접·접합학회지 Vol.20 No.3

The laser welding in the automotive industries has been used widely for the butt joint of blank sheets rather than the lap joint of automotive body panels. But as a substitute far the spot welding of automotive body panels, the so called three dimensional laser welding will be important far the body panel engineers. Specially the laser welding of body panels with a smooth weld line is applied increasingly, for example, to the side panels. So far, some criteria of the laser weld quality was suggested by in-house regulations or national standards from experiences and/or rule of thumbs. In the manufacturing places, a go or no-go criterion is adopted because of the simplicity or a lack of rational criteria. It is true specially for the selection of the process parameters, which gives the basic causes for the good quality of laser welds. In this study, the effects of joint combination, gap and welding speed on the lap joint $CO_2$ laser welding of two mild steel sheets with different thicknesses are obtained through a $2{\times}3{\times}7$ factorial experiment. The results of the weld quality are statistically analysed using analysis of variance (ANOVA) and compared between two characteristic zones, which are separated by the type of sectional shapes and the level of input energy per volume. The thickness combinations are 0.8mm/1.2mm, 1.2mm/0.8mm of mild steel sheets. The welding speed covers from the deep penetration to the partial penetration. The gap size has three levels of no-gap, 0.16m, and 0.26mm. The bead width, penetration depth and input energy per volume are measured and used as the weld quality criteria.

횡보(橫步)의 문리(文理): 염상섭과 산(散)혼(混)공(共)통(通)의 상상

이경돈 상허학회 2013 상허학보 Vol.38 No.-

Yeom Sang Sub’s pen name was Hoeng-Bo(橫步). It meant the way of walking sideways like a crab and drunken men. Hoeng–Bo was the opposite word of progress. We can call modern the era of progress. So we can understand his pen name was relativized to consider the modern progress. It suggests he wanted to show the another way of life style which was different from that of modern world, So Yeom became the –ist who is not a –ist and the writer we can not judge by rationality and objectivity. It was the era of progress in 1920s in Korea. When we compared him with his contemporary writer, Yeom’s works and past was very unique. He published his works in many ideological medias regardless of their ideologies and wrote his pieces in various styles without any preconception. Also, he changed argument into the consultation not a fight and thus made a free debate environment. So his past was the result of the imagination of interspersion and interminglement, sharing and commonness. His major work Sam-Dae was created by that imagination. There were characters in his works who had their special personalities and intermingled one another depend on their benefits. Although they conflicted because of generation gap, they eventually understood one another. That was the fate Yeom wanted to describe. And he planed to design the three works including Sam-Dae in trilogy and intended to show the similar aspects repeatedly. From the imagination of interspersion, interminglement, sharing and commonness, Hoeng-Bo, Yeom’s reason of text was originated. 근대의 흐름에 진보주의라는 명칭을 붙이는 것이 가능하다면 염상섭의 사상을 횡보주의라 부르는 것도 가능할 것이다. 하지만 그의 행보와 작품에서 읽히는 비근대성 및 비이념성은 횡보주의라는 호칭과 잘 어울리지 않는다. 그는 단독적 ‘주의’를 부인하는 ‘주의’이므로 하여, ‘주의자’로 부를 수 없는 ‘주의자’가 되었기 때문이다. 횡보를 객관성과 합리성의 시야에서 일련의 개념과 체계로 구성하려는 시도는 그래서 자칫 헛되다. 그의 행보와 작품을 ‘비동일성의 동일성’ 나아가 ‘비변증(非辨證)의 변증’을 통해 살펴야만 하는 이유이다. 진보를 향한 각종의 ‘주의’들이 난무하던 1920년대를 경과하는 가운데 염상섭은 시대를 건너는 자신의 보행법을 ‘횡보(橫步)’라 부르며 『만세전』의 묘지 같은 시간과 작별했다. 매체를 선택함에 있어, 양식을 설정함에 있어, 다른 주의자와 논쟁을 벌이는 데 있어, 횡보는 삶의 광대한 산포(散布)와 이리 얽히고 저리 섞이는 혼연(混緣)으로서 세계의 상(像)을 그리고 있었다. 그리고 무엇도 내칠 수 없는 공편(共遍)과 서로 닮아 질기게 이어져 있는 통섭(通涉)의 시대를 말하는 것이기도 했다. 현묘하게도 서로 다름을 뜻하는 ‘산혼(散混)의 상상’이 서로 호응함을 의미하는 ‘공통(共通)의 상상’으로 이어지는 길을 열어간 것이다. 그리고 그 정점에 소설 『삼대』가 있다.