입자 제거용 환기 필터의 설계 변수 선정 기법을 위한 이론 및 실험적 연구

정의경,노광철,박재홍,황정호 한국입자에어로졸학회 2009 Particle and Aerosol Research Vol.5 No.1

Pressure drop and particle removal efficiency of two commercial fibrous medium filters were measured with 20~1,000 nm sized aerosolized KCl particles. Pressure drop and particle removal efficiency were also theoretically predicted and the results qualitatively agreed with the experimental data. For this given particle removal efficiency, a filter design method for obtaining minimum pressure drop (and therefore minimum fan power) was suggested in this study by selecting solidity and fiber diameter as parameters. Therefore, by carrying out theoretical and experimental approaches together, this paper introduced a way of finding conditions for low pressure drop and high performance of a fibrous filter, especially if the filter would be used in mechanical ventilation system.

함산소불소화 탄소재료의 응용

정의경,이영석 한국공업화학회 2011 한국공업화학회 연구논문 초록집 Vol.2011 No.-

《율리시즈의 귀향》에 대한 새로운 해석: ‘무’의 관념과 익명학회에 근거하여

정의경 한국서양음악학회 2010 서양음악학 Vol.13 No.3

몬테베르디의 오페라 《율리시즈의 귀향》은 《포페아의 대관식》의 그늘에 가려져 왔다. 상대적으로 의문의 여지가 없는 작품으로 인식되었던 《율리시즈의 귀향》의 주제는 두 주인공 율리시즈와 페넬로페의 사랑의 승리로 여겨졌다. 그러나 당시 전 유럽에서 유행했고《율리시즈의 귀향》의 대본가 바도아로가 속해 있던 익명학회도 애용했던 무의 관념에 의거하여 이 오페라를 해석하면 전혀 다른 일면을 보게 된다. 《율리시즈의 귀향》에서 언급하는 사랑은 두 주인공의 그것이 아니며 반대 축 인물들의 입을 통해 나오는 무로서의 사랑이다. 또한 대본과 총보의 차이라는 결과를 만들어 낸 대본가와 작곡가의 의견 차이의 원인 역시 무의 관념을 통해 밝혀낼 수 있다. 《율리시즈의 귀향》에 대한 이러한 시각의 해석은 그동안 《포페아의 대관식》에 비해 《율리시즈의 귀향》을 파악하기 쉬운 작품으로 받아들였던 기존의 해석을 뒤집고 더 나아가 《포페아의 대관식》에 대한 새로운 해석의 단서 또한 제공한다. Claudio Monteverdi's opera Il Ritorno d'Ulisse in patria, in comparison to his own L'incoronazione di Poppea, has not enjoyed much popularity in the musicological literature. It has generally been agreed, without much dispute, that the theme of Ulisse narrates the triumphant love story between Ulysses and Penelope. If one takes a look at the opera, however, with the concept of "nothingness," a popular concept not only prevalent throughout the Europe at the time, but more significantly, also advocated by the Accademia degli Incogniti, of which Giacomo Badoaro, the librettist of Ulisse, was a member, the other side of this seemingly happy story is revealed. The idea of "love" depicted in Ulisse is "Nothing" that comes from the mouth of the opposing characters (e.g., Penelope's suitors), not the one between Ulysses and his beloved. A curious discrepancy between the libretto and the score, most likely caused by the discrepancy between the librettist and the composer, can also be elucidated by the concept of nothingness. Such a view immediately challenges current scholarship in the literature that much less is there to be said about Ulysses than Poppea, and provides new evidence with which to look at the latter.

19세기 프랑스와 독일의 정신질환 치료가 예술가에게 미친 영향: 로베르트 슈만과 테오도르 제리코를 중심으로

정의경 한양대학교 음악연구소 2016 音樂論壇 Vol.36 No.-

It is well known that Schumann spent last days of his life in mental hospital, which has influenced the assessment of the composer’s late works. But if Schumann’s condition had aggravated after being admitted to the hospital and due to the therapy, then Schumann’s late period should be reconsidered. Schumann’s doctors believed that musical activity agitated the patient and should be prohibited. In other words, the doctors did not consider a possibility that creative activity can have a positive effect on the patient who is also an artist. Such positive effect, however, can be traced in the case of a painter Théodore Géricault, a contemporary of Schumann’s. The present study examines ways in which doctors’ attitude towards art can influence the treatment of patients, comparing Schumann and Géricault. 슈만이 정신병원에서 삶을 마감한 사실은 잘 알려져 있고 슈만 후기 곡의 평가에 크게 영향을 미친 요소로 작용하였다. 그러나 슈만이 정신병원에 입원한 이후 상태가 더욱 악화되었으며 의료진의 치료 방침이 결과에 악영 향을 미쳤다면 슈만의 말년은 재고를 필요로 한다. 슈만을 담당하였던 의 료진은 음악 활동에 해 슈만의 흥분을 야기하는 요소로 평가하여 분리시 켜야 할 상으로 보았다. 즉 예술활동이 예술가인 정신질환자의 치료의 수단으로서 긍정적으로 기능할 수 있는 가능성을 막았다. 이러한 긍정적 효과는 동시의 화가 테오도르 제리코의 경우와 비교하여 볼 때 더욱 확 실히 드러난다. 본 논문에서는 예술가의 정신 치료에 있어서 의료진의 예 술에 한 판단이 얼마나 다른 결과를 가져올 수 있는지 슈만을 동시의 화가 제리코와 비교하여 제시하였다.

폴리트리아졸케톤 강인화제가 TGAP/3,3’-DDS 에폭시 수지의 기계적 물성에 미치는 영향

정의경,조민희,배진석 한국섬유공학회 2020 한국섬유공학회지 Vol.57 No.1

This study analyzes the effect of novel in situ type polytriazoleketone (PTK)–toughening agent on tensile properties and fracture toughness of triglycidyl p-aminophenol (TGAP)/3,3'-diaminodiphenylsulfone (3,3'-DDS) epoxy resin. As monomers of PTK, 1,4-Bis-(azidomethyl) benzene (p-BAB) and 4.4'-bis-(propargyl-oxy) benzophenone (BPOBP) were synthesized and characterized using 1H-NMR and FT-IR analyses. The synthesized monomers were mixed with TGAP and 3,3'-DDS and polymerized to PTK during the curing reaction of the epoxy resin. By adding only 5 phr of PTK, the fracture toughness of theTGAP/3,3'-DDS epoxy resin was increased by 26.8%, whereas only 7.32% of the fracture toughness was increased by addition of 5 phr of PES. However, the fracture toughness of TGAP/3,3'-DDS decreased with the increasing amount of PTK (addition of 10 and 20 phr), whereas it significantly increased with the increasing amount of PES (addition of 10 and 20 phr). This was attributed to the poor dispersion of the solid-state BPOBP monomer in the liquid-state TGAP epoxy resin. The difference of 1.09 in the solubility between TGAP and BPOBP resulted in poorly dispersed BPOBP particles in TGAP, which resulted in a lowmolecular weight of the polymerized PTK during the epoxy curing reaction, and the unreacted BPOBP and p-BAB existed in the cured epoxy resin. However, PTK showed a significant improvement in the fracture toughness of TGAP/3,3'-DDS with only 5 phr, and the difference of 1.09 in the solubility between TGAP and BPOBP could be overcome with the optimized epoxy mixing procedure. Therefore, the novel in situ PTK-toughening agent can be used to improve the fracture toughness of TGAP/3,3'-DDS-based epoxy resins.

제20주제 – 자율주행차 어디까지?

정의경,장수은,이영인 서울대학교 환경대학원 2017 環境論叢 Vol.60 No.-

Effects of physicochemical treatments of illite on the thermo-mechanical properties and thermal stability of illite/epoxy composites

정의경,이영석,Jae Won Lim,Kyeong-won Seo 한국공업화학회 2011 Journal of Industrial and Engineering Chemistry Vol.17 No.1

In this study, the effects of physicochemical treatments of illite on thermo-mechanical properties and thermal stability of the hybrid illite/epoxy composites were investigated. Illite was chemically modified with octadecylamine (ODA), to become more organophilic and also physically modified by wet ballmilling process, so that the illite dispersion in the epoxy matrix and interfacial adhesion between illite and epoxy resin could be improved. Then, as-received illite and physically and/or chemically modified illites were mixed with epoxy separately to produce hybrid illite/epoxy composites and their thermomechanical properties and thermal stability were investigated. Chemical modification was confirmed with FTIR and the aforementioned properties of illite/epoxy composites were characterized with SEM,DMA, and TGA. IR results show that ODA modification of illite was successful and thermo-mechanical properties were enhanced with illite introduction to the epoxy resin, especially when physically and chemically modified illite was added, showing about 100% increase in storage and loss modulus,compared to the pure epoxy. However, thermal stability was not enhanced by forming the illite/epoxy composites, because the composites prepared in this study were intercalated and flocculated illite/epoxy microcomposites.

New application of layered silicates for carbon fiber reinforced carbon composites

정의경,이영석,Jinhoon Kim,Se Ho Cho,Jeong-il Kim,In-Sub Han 한국공업화학회 2011 Journal of Industrial and Engineering Chemistry Vol.17 No.2

To investigate potential use of a layered silicate, illite, for carbon fiber-reinforced (C/C) composites, the C/C composites were prepared at different carbonization temperatures, specifically 1000 8C and 1650 8C using illite. The physical and chemical changes in the prepared C/C composites that were induced by the addition of illite and anti-oxidation and mechanical properties of the composites were investigated. A carbothermal reaction occurred due to the addition of illite when the composite was prepared at 1650 8C,which resulted in the formation of SiC from the illite and carbon. The physical structures of the composites changed due to the increased interfacial adhesion between the reinforcing carbon fibers and the carbon matrix, which resulted increased bulk densities, and decreased porosities. The carbothermal reaction and physical structural changes that were induced by the addition of illite synergistically improved the anti-oxidation properties of the prepared composites, which were observed as a delay in oxidation. In addition, illite filler also improved flexural strength of the composite, due to the increased interfacial adhesion induced by illite addition. Therefore, the application of the layered silicate, illite, for C/C composites can be quite promising.

슈만의 소리적 상상력: ‘분노의 날’을 통한 ≪괴테 파우스트의 장면들≫ ‘성당 장면’의 소리 층위 변화

정의경 한양대학교 음악연구소 2022 音樂論壇 Vol.47 No.-

‘Dies irae’ is known as a component of Requiem, but Schumann strongly reveals the presence of ‘Dies irae’ in ‘Szene im Dom’ of Szenen aus Goethes Faust, not a work titled Requiem. This paper focuses on the ways in which the polyphony of narrative is reinforced by music in the ‘Szene im Dom’, the last scene of Part I. It shows the ways in which Schumann foregrounds ‘Dies irae’, which merely serves as a background in Goethe’s source text. In addition, the effect of this decision on the overall structure and nature of the genre of Szenen aus Goethes Faust was presented. ‘분노의 날’은 죽은 자를 위한 미사 레퀴엠의 구성 요소로 알려져 있지만 슈만은 레퀴엠이라는 제목이 붙은 작품이 아닌 ≪괴테 파우스트의 장면들≫ 중 ‘성당 장면’에서 ‘분노의 날’의 존재감을 강하게 드러낸다. 본 논문은 ≪괴테 파우스트의 장면들≫ 중 1부의 마지막 장면에 해당하는 ‘성당 장면’에서 괴테의 원문에 잘 드러나지 않았던 내러티브의 다성성이 슈만의 음악을 통해 강화되는 모습에 집중하였다. 또한 이러한 결정이 ≪괴테 파우스트의 장면들≫의 전체 구조와 장르의 성격에 미치는 영향을 제시하였다.

슈만의 파가니니《카프리스》 피아노 반주 작업에 담긴 의미

정의경 한국서양음악학회 2016 서양음악학 Vol.19 No.1

슈만이 세상을 떠나기 전 마지막으로 손을 대었던 음악작업은 파가니니 카프리스의 피아노 반주 작곡이었다. 파가니니는 슈만의 음악인생 시작점에도 결부되었던 작곡가로 슈만의음악인생 전반에 걸친 파가니니에 대한 애호를 단순히 그의 기교에 대한 매혹으로 보기에는모자람이 있었다. 또한 슈만의 정신상태, 장르의 문제, 단순한 화성화 작업 등으로 슈만의 마지막 음악작업을 의미없다 치부하기에는 그 이유들에 문제점이 존재하였다. 본 논문에서는슈만과 파가니니가 공유하는 특성인 다성성에 집중하여 평생에 걸친 슈만의 파가니니 흥미의 원인을 다양화시키고 슈만의 파가니니 카프리스의 반주 작업에 의미를 부여하였다. The last piece Schumann worked on before he died was the arrangement for Caprices by Paganini. Paganini was a composer with whom Schumann had been fascinated from the beginning of his musical career, and it would be oversimplifying to suggest that it was Paganini’s virtuosity that captured Schumann’s attention throughout his career. I suggest that it would be unfair to overlook the significance of Schumann’s last work based on the factors such as Schumann’s mental problems, the questions of genre, and the propensity for considering the accompaniment arrangement as a simple harmonization of a piece for solo work. In the present study, focusing on the shared interest of the two composers, namely multivocality, I reconsider Schumann’s lifelong fascination with Paganini and give meaning to Schumann’s piano accaompaniment to Paganini’s Caprices.