건전하고 지속가능한 도시계획 수립을 위한 도시계획고권 확립

전유신 대한국토·도시계획학회 2018 도시정보 Vol.- No.431

냉각탑용 수분배기의 특성에 관한 연구

전유신,최석천,이용훈,김세현,정효민,정한식 경상대학교 해양산업연구소 2002 해양산업연구소보 Vol.15 No.-

The main purpose of this research is the investigation of water distributer. The water distributer of this research is installed in evaporative cooling tower system. The performance of this cooling tower system depend on the evaporative surface, and there are many kinds of methods for increasing the evaporative surface. In this research, we introduced the two kinds of spraying system, one is the hole type with hole diameter 1, 2 and 3mm, and the other is the spray nozzle types with nozzle tip diameter of 1 and 2mm. As the experimental results, the case of diameter 2mm showed the best performance.

급식관리의 위탁경영

전유신 연세대학교 생활과학대학 1992 婦學 Vol.25 No.-

도시성장관리를위한개발밀도관리모델 수립에관한연구

전유신,문태훈 국토연구원 2003 국토연구 Vol.38 No.-

The purpose of this paper was developing a development density control model for urban growth management, using system dynamics modeling. The density control model was developed to see how urban growth, transition, and decay occur depending on the interaction among population, houses, industry structure, land and urban infrastructure such as road, water supply, and sewage treatment facilities. Suggesting adequate level of development density control using the model was another purpose of this paper. The model was applied to An'yang city to estimate the maximum number of population, industry structures, houses, and cars that can be adequately sustained with the current An'yang city's infrastructure capacity. The computer simulation results shows that the city is overpopulated by some 90,000 people. To reduce the population to the adequate level that the current urban infrastructure can sustain, the current city regulation on floor area ratio are needed to be strengthened at least 20 to 35%.

마르그리트 뒤라스와 여성적 글쓰기를 통해 본 양혜규의 작업

전유신 미술사학연구회 2013 美術史學報 Vol.- No.41

양혜규는 최근 프랑스의 여성 소설가 마르그리트 뒤라스에 대한 관심을 전시와 번역서 출간, 연극, 영화제 개최 등 다양한 방식으로 드러내고 있다. 또한 양혜규는 뒤라스를 여성주의로 해석한 줄리아 크리스테바(Julia Kristeva)를 자신의 출판물에서 자주 인용하고 있는데, 크리스테바는 남성과는 다른 여성성을 인정해야 한다는 차이의 페미니즘을 주장한 프랑스 페미니스트들 중 한사람이다. 프랑스의 페미니스트들은 여성의 차이를 드러내기 위한 방법으로서의 ‘여성적 글쓰기(écriture féminine)’를 주장하며, 뒤라스를 여성적 글쓰기를 하는 유일한 프랑스 작가로 손꼽기도 했다. 따라서 본 논문은 뒤라스의 글쓰기, 그리고 그것을 여성적 글쓰기로 정의한 차이의 페미니즘, 그리고 양혜규의 작업이 갖는 관계를 탐구해보고자 한다. II 장에서는 마르그리트와 뒤라스와 여성적 글쓰기가 어떻게 연결되는지를 탐구해보고자 한다. 뒤라스는 프랑스 식민지였던 베트남에서 보낸 유년시절을 자신의 소설 속에서 다양하게 변주한다. 프랑스의 페미니스트들은 뒤라스를 여성적 글쓰기 작가로 지목하는 것 역시 뒤라스의 무의식을 지배하는 이 유년 시절의 상징성과 기억의 잔상을 고스란히 전달하는 감각적 글쓰기의 방식 때문이다. 뒤라스와 차이의 페미니즘은 여성의 신체가 가진 타자적 특성을 드러내는 글쓰기를 지향하고자 하는데, 구체적으로는 이성과 연관되는 시각보다는 청각이나 촉각적 감각을 중시하는 공감각성을 강조해 여성 신체의 타자성을 드러내고자 하며, 여성을 억압하는 이분법적 구조를 자유롭게 위반하는 글쓰기를 시도하고자 한다. III 장에서는 뒤라스와 여성적 글쓰기가 공유하는 이러한 특성을 양혜규가 자신의 작업에서 어떻게 재현하고 있는지를 살펴보고자 한다. 첫 번째로, 양혜규는 뒤라스와 여성적 글쓰기의 공감각적 텍스트를 블라인드와 함께 가습기, 적외선 히터, 향 분사기 등 여러 가지 감각기계들을 사용함으로써 재현해낸다. 두 번째로 양혜규는 뒤라스와 여성적 글쓰기가 위반하고자 하는 이분법 구조를, ‘쌍’과 ‘짝’, ‘삼각형’과 같은 개념을 사용해 번역하고 있다. 양혜규의 ‘쌍’이나 ‘짝’이라는 개념은 서로 적대적이고 위계 관계를 갖는 대립적 요소로서의 남성적 이분법이 아닌 서로의 차이를 인정하고 공존하고 경계를 위반하는 것이 가능한 여성적 글쓰기의 이분법 개념과 연계된다. ‘삼각형’ 역시 대립적이고 공존하기 어려운 이분법적 쌍이 하나 더 추가된 이분법의 확장된 개념이자 이분법의 경계가 무너진 상태로도 볼 수 있을 것이다. 세 번째로 양혜규는 타자들이 공존하는 공간을 글쓰기를 통해 창출하고자 했던 뒤라스와 여성적 글쓰기를 ‘집’과 ‘집 없음’이라는 개념과 연관해 번역한다. 뒤라스에게 집은 가정과 모국이라는 두 가지 의미를 갖는데, 양혜규에게 가정은 부엌이나 가전기구와 같은 오브제들과 연관되어 집의 개념으로 작품화되고, 모국은 노마드나 디아스포라(diaspora) 등의 개념과 연결되어 ‘집 없음’의 개념과 연결되어 드러난다. 최근에는 집과도 같은 자신의 작품에 집 없는 사람들, 특히 역사적 디아스포라와 연결된 인물들을 불러오는 작업들을 보여주고 있다. 양혜규와 뒤라스의 ‘집’과 ‘집 없음’은 단순히 대비되는 짝을 이루는 것에서 그치지 않고, 집이 결국 모국이나 집을 잃어버린 디아스포라들을 위 ... Haegue Yang has recently revealed her interests on Marguerite Duras, the french woman writer through various ways such as exhibitions, translation book, play and film festival. She often quotes passages of Julia Kristeva on her books, who is one of the french feminists insisted on the feminism of the difference. French feminists have an interest on the female identity different from the male and tried to reveal the difference through ‘écriture féminine’. They also made a choice Duras as the only french writer practicing ‘écriture féminine’. I want to analyze the relationship among the writing of Duras, the feminism of the difference and the works of Yang. In the second chapter, I examine the relationship between Duras and ‘écriture féminine’. Duras dealt with the experience and the memory on her childhood spent in Vietnam, a french colony as the subject of her various works. The symbolism of the childhood controling her unconsciousness and the sensational style of writing conveying the afterimage of the memory are very important factors in her works. Écriture féminine tried the writing reflecting the Otherness of the female body, which focus on the synesthesia and the dismantlement of the dichotomy. French feminists thought that the works of Duras reflect these factors of ‘écriture féminine’ and regarded her as the only ‘écriture féminine’ writer. In the third chapter, I will focus on how Yang represents these factors that Duras and ‘écriture féminine’ have in common. First, she represents the synesthetic texts of Duras and ‘écriture féminine’ by using the blind as the object and the sensory machines such as a humidifier, an infrared heater and a fragrance diffuser. Second, she translates the dichotomy through the concepts of 'doubles', 'couples' and 'triangle'. The concepts of 'doubles' and 'couples' are not related with the male dichotomy, which is composed of the opposite and the hierarchical, but related with the female dichotomy, which recognizes the difference and goes beyond the boundary. Triangle can be interpreted as the expansion or the dismantlement of the dichotomy. Third, Duras and ‘écriture féminine’ tried to create the space that the others coexist through the writing, and Yang interprets the space through the concepts of 'Home' and 'Homelessness'. In the works of Duras, Home has two meanings as both the domesticity and homeland. In the works of Yang, the domesticity is related with the concept of Home, which is shown through the works related with the concept of the kitchen or is represented as the objects such as the home electronics. Homeland is related with the concept of 'Homelessness', which is revealed through the works dealing with the subject of nomad or diaspora. She often invites homeless, the historical figures associated with the diaspora in her works like home. Home and Homelessness of Duras and Yang are not simply the couples of the opposite concepts, but Home finally becomes the space for the homelessness losing homeland. In this sense, the triangle of Haegue Yang-Marguerite Duras-the feminism of the difference(écriture féminine) can be connected with the triangle of Haegue Yang-Marguerite Duras-postcolonialism. Duras can be positioned in the intersection of écriture féminine, the feminism of the difference and the postcolonialism. Yang translates Duras, but she has revealed an interest on the expanded postcolonialism. In the sense, she can also be positioned in the intersection of the two discourses. Today, the feminism discourse has widen the research area to the gender study including various others beyond woman, which can be possible with the help of the postcolonialism discourse. In conclusion, studying the works of Yang based on the relationship between Duras and écriture féminine is not a try to limit her works to the feminism discussion, but a try to see her works with the expanded view of the contemporary feminism discourse.

시스템다이내믹스를 활용한 도시개발밀도의 적정성 평가 모델 구축 연구

전유신,문태훈 한국시스템다이내믹스학회 2003 한국시스템다이내믹스학회 춘계학술대회 발표논문집 Vol.2003 No.1

The purpose of this paper was developing a development density control model for urban growth management, using system dynamics modeling. The density control model was developed to see how urban growth, transition, and decay occur depending on the interaction among population, houses, industry structure, land and urban infrastructure such as road, water supply, and sewage treatment facilities. Suggesting adequate level of development density control using the model was another purpose of this paper. The model was applied to An`yang city to estimate the maximum number of population, industry structures, houses, and cars that can be adequately sustained with the current An`yang city`s infrastructur capacity. The computer simulation results shows that the city is overpopulated by some 90,000 people. To reduce the population to the adequate level that the current urban infrastructure can sustain, the current city regulation of floor area ratio are needed to be strengthened at least 20 to 35%.

1970-90년대에 개최된 프랑스 미술전과 기획 주체 연구

전유신 미술사학연구회 2020 美術史學報 Vol.- No.55

This study is focused on the organizers and the content of the French art exhibitions held in Korea from the 1970s to the 1990s. The study revealed that the exhibitions of famous French paintings held in Korea during the 1970s were largely hosted by Korea’s leading newspaper companies, such as Chosun Ilbo, according to government policy on mass media implemented by the Park Chung-hee administration. Throughout the next two decades in the 1980s and 1990s, the art exhibitions were mainly hosted by art institutions such as museums and galleries that specialized in French contemporary art, printing in particular. The main discussion of this study traces the background of the exhibitions to help explain why French art was dominantly favored by the Korean exhibition organizers from the 1970s to the 1990s as well as how this contributed to the acceleration of artistic exchanges between Korea and France. 본 연구는 1970-90년대에 프랑스 미술전을 개최한 핵심 주체가 시기별로 변화했고, 각 주체별로 전시의 내용도 차별화되었음을 고찰했다. 1970년대에는 박정희 정부의 언론 정책에 따라 『조선일보』와 같은 신문사가 프랑스 명화전을 개최하는 핵심 주제로 성장했다. 1980-90년대에는 미술관과 화랑이 프랑스미술전의 주요한 기획 주체였고, 각각 프랑스 현대미술전과 프랑스 판화전을 주로 개최했다. 본 연구는 1970-90년대에 프랑스 미술전이 다른 해외 미술전보다 압도적으로 많이 개최된 배경을 추적하고, 이러한 전시가 한국과 프랑스 양국의 미술 교류를 가속화하는 매개가 되었음을 고찰했다

버블 생성 시스템

전유신 한국기계기술학회 2021 한국기계기술학회지 Vol.23 No.6

This study aimed to develop an algae reduction device using bubbles to improve algal blooms occurring in lakes or reservoirs in summer, and to design a venturi, a major core device for bubble generation and supply. As a measure to improve the bubble generation effect of the venturi, the venturi was devised to change the air intake characteristics, and the flow characteristics were analyzed through CFD simulation to achieve the optimal design.

왕복동식 밀폐형 압축기와 BLDC 압축기의 성능 비교에 관한 실험적 연구

전유신 한국기계기술학회 2021 한국기계기술학회지 Vol.23 No.6

The purpose of this study is to compare and analyze the conventional constant-speed compressor driven by an induction motor and the BLDC-applied capacity variable compressor in order to improve the energy efficiency of the refrigeration system. Through this study, it was found that, when a reciprocating hermetic compressor is operated, more power is consumed than a BLDC compressor due to the consumption of current through the instantaneous starting capacitor when operating at a constant voltage than a BLDC compressor.

《세계현대미술제》의 프랑스 편향성과 그 이면 -냉전시대의 한·불 미술교류

전유신 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-

This study focuses on the criticism that was leveled at the Seoul Olympic Arts Festival’s Olympiad of Art for being an exhibition heavily biased toward France and attempts to gain a clearer understanding of such bias by exploring its background. After providing an overview of the factors that gave rise to the French bias criticism, this study analyzes the careers of the participating artists in order to better explain the bias toward France. This study also aims to track the process by which France’s unique Cold War-era politics and culture influenced the Korean art world through the Olympiad of Art. In particular, it emphasizes the fact that the exhibition’s French bias played a decisive role in encouraging the participation of artists from the Soviet Union/Communist bloc and that the exhibition was a watershed event that provided a rare opportunity for exchange between Korean and Communist bloc artists. This study also highlights the fact that the Olympiad of Art offered a succinct summary of the history of artistic exchange between Korea and France and explores the history of such exchange in the years leading up to and immediately following the exhibition. With particular focus on the history of bilateral artistic exchange in the 1980s (the period in which the Olympiad of Art was held), this study reveals the circumstances that led to the Olympiad of Art’s French bias. In this way, the study emphasizes the fact that the Olympiad of Art was a major inflection point in the history of artistic exchange between Korea and France and ultimately reconstitutes Korean art history within a broader international framework.