RBS 철골모멘트접합부의 내진거동평가를 위한 반복재하 실물대(實物大) 실험

이철호,김진호,전상우 한국강구조학회 2002 韓國鋼構造學會 論文集 Vol.14 No.4

paper summarized the results of a full-scale cyclic seismic testing on four reduced beam section (RBS)steel moment connections. Specifically, these tests addressed a bolted web versus a welded web connection and strong versus medium panel zone (PZ) strength as key test variables. with medium PZ strength were designed to promote balanced energy dissipation from both PZ and RBS regions, in order to reduce the requirement for expensive doubler plates. Both strong and medium PZ specimens with welded web connection were able to provide suficient connection rotation capacity required of special moment-resisting frames. On the other hand, specimens with bolted web connection performed poorly due to premature britle fracture of the beam flange at the weld access hole. Unlike the case of web-welded specimens, specimens with cheaper bolted web connection not transfer the actual plastic moment of the original (or unreduced) beam section to the column. No fracture occurred within the beam groove welds of any connection in this testing program. If fracture within the beam flange groove weld is avoided by using quality welding procedure as in this study, the fracture issue tends to move into the beam flange base metal at the weld access hole. Supporting analytical study was also conducted in order to understand the observed base metal fracture from the engineering mechanics perspective. 본 논문은 4개의 RBS 철골모멘트 접합부에 대한 반복재하 실물대 (實物大) 실험결과를 요약한 것이다. 주요 실험변수는 기둥과보의 접합방식 (볼트접합 대 용접) 및 패널존의 강도 (강한 패널존 대 중간강도 패널존 )이다. 중간 패널존 강도를 갖는 시험체는 패널존과 RBS 영역 모두에서 균형잡힌 방식으로 에너지가 소산되도록 고려하여 설계된 것으로 패널존 보강비용을 줄이고자 시도한 경우 이다. 보웨브가 용접으로 접합된 경우의 시험체들은 특별연성모멘트골조에 요구되는 충분한 접합부 회전성능을 보여 주었지만 , 웨브를 볼트로 접합한 시험체들은 스캘럽을 가로지르는 보플랜지의 조기 취성파괴로 인해 열등한 내진성능을 노출하였다 . 보웨브를 볼트로 접합하면 비용을 줄일 수 있으나 원래 보단면의 전소성모멘트를 기둥에 전달하기에 어려운 것으로 나타났다 . 본 연구에서 적용된 것과 같이 양질의 용접시공에 의해 일단 그루브 용접부 자체의 취성파괴 문제가 해결되고 나면 , 용접접근공내에 위치한 보플랜지 모재의 파단이 다음의 문제로 대두됨을 알 수 있다 . 용접접근공 내의 보 플랜지 파단문제를 역학적인 측면에서 이해하는데 도움이 되는 해석적 연구도 수행되었다 .

리브로 보강된 철골 모멘트 접합부의 내진거동에 관한 실험적 연구

이철호,정종현,이재광,오명호,구은숙 한국강구조학회 2002 韓國鋼構造學會 論文集 Vol.14 No.4

simple design method for seismic steel moment connections has been recently proposed basedon the equivalent strut model. An experimental program was implemented to verify the proposed design method, as wel as develop the schemes that wil prevent cracking at the rib tip where stress concentration was evident. All specimens designed using the proposed method were able to develop a satisfactory connection plastic rotation of 0.04 radian. In addition to rib reinforcement, slight beam flange trimming pushed the plastic hinging and local buckling of the beam away from the rip tip and effectively reduced cracking potential at the rib tip. Using strain gage readings, the strut action of the rib and resulting reverse shear in the beam web were also experimentally identified. 리브로 보강된 철골 모멘트 내진접합부에 대한 실용적이고 간단한 설계법이 등가스트럿 모델을 바탕으로 최근에 제안된 바가 있다. 본 논문에서는 제안된 설계법을 검증하고 응력집중에 의한 리브 단부의 균열방지 방안을 모색하기 위한 실험결과를 기술 하였다. 제안된 설계법에 의해 설계된 모든 실물대 시험체는 접합부의 소성회전각이 0.04 (radian)에 이르는 뛰어난 내진성능을 발휘하였다 . 접합부를 리브로 보강함과 동시에 보의 플랜지 일부를 잘라내어 보의 소성힌지와 국부좌굴의 발생위치를 리브의 끝단으로부터 보 안쪽으로 약간 이동시킴으로서, 리브단부의 균열발생을 효과적으로 제어할 수 있음을 실험적으로 확인하였다 . 또한 리브의 스트럿 작용과 이로 인한 보 웨브에서의 전단역전을 스트레인 게이지 계측을 통하여 실험적으로 입증하였다 .

Phenobarbital이 신생아 고빌리루빈혈증에 미치는 영향

이철호,이의재,조보경,전정식,조성훈 최신의학사 1990 最新醫學 Vol.33 No.1

「리시다스」의 "쌍수의 기계"에 관한 소고

이철호 한국밀턴학회 1999 중세근세영문학 Vol.9 No.2

The confusing crux of the lines 130-31 of "Lycidas" has created a lot of controversy that has, in turn, furthered our understanding of MIlton's poetry, but has failed to explain satisfactorily the image's meaning. Here I want to propose still another 'possible' solution to the crux. The poem can be thought of as a process in which the speaker is trying to find out an answer to the question "Since it must end in death, what good is life?" As Lycidas who dies before his time has given his life to art and pastorship, this question can also be paraphrased as "What boots it with incessant care / To tend the homely, slighted shepherd's trade, and strictly meditate the thankless Muse?"(64-6). The first answer which the pagan god Phoebus makes to this question is comforting but not wholly satisfactory. He argues an immortality of true fame that is rewarded by "all-judging Jove" after death, but it is a fame unconnected with any mortal striving in this world. Peter gives the second answer in which he wags his venomous tongue at the corrupted clergy instead of ensuring the good shepherd's resurrection through Christ's crucifixion. As Peter predicts the "two-handed engine" to them and we have no gloss from Milton, we must consider at least four things, that is, the words themselves, the immediate context of the lines, the broader context of the entire poem and any outside clues. Taking all these things into consideration, we can safely say that Milton may visualize the sword of Michael which the archangel will use to punish the infidels at the Last Judgment. This sword seemed to be suggested to Milton from the sharp two-edged sword which issues from God's mouth (Revelation 1. 16), and after the time started to be ripe for Revolution he also identified it with the protestant movement hewing off the old and hollow tree of papacy.

앤드류 마아블의 "호라티우스풍의 부(賦)" 연구

이철호 한국밀턴학회 1998 중세근세영문학 Vol.8 No.-

Because of the ambivalences of "Horatian Ode" evoked by many ironies and ambiguities, much ink has been spilled over the issue of who is the real hero or of whom Marvell is on the side. I do not wish to add a little ink to the same premises, but I can only suggest in passing that Marvell takes up the position that whether we like it or not, history has to be accepted. Charles I died with dignity; but Cromwell was the instrument of Providence or history. It is clear that he was prepared to accept the triumphant revolution over the king, whose bleeding head was needed as the foundation of Commonwealth. For too many readers the scene of Charles's execution disturbs the center of gravity of the poem. If we do not, however, forget the fact that throughout the poem Marvell wants to put the focus on the historical development, we can safely say that his sympathy for Charles I's personal virtues is outweighed by his admiration for Cromwell who is supported by the historical force and God's will. Marvell's famous phrase "the Cause was too good to have been fought for" does not mean that after the Restoration he rejected the cause of the revolution, but that the war should not have been fought because it need not have been fought, because the victory of Parliament was inevitable, war or not. Though we can read off a little reluctance to the cruelties of the war and the forced power, this poem shows that Marvell was no longer an aristocratic young cavalier but a sound Parliamentarian.

『실락원』에 나오는 마왕의 기이한 세 삽화

이철호 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-

Because Milton wants to make a description of what can't be described, such as the agency of God, Christ, and spirits, he has no choice but to use many similes to magnify Satan whose words and actions are to be guessed by analogy with human behavior. This entails many critical or laudatory opinions. But, when we think that criticism has been conditioned by the moral and political and religious viewpoint of successive generations, most of the different opinions can be understood. The Satanists, living through the French Revolution, tend to regard Satan as both a great poetical creation and an object for moral sympathy. On the other hand, Dr. Johnson and Eliot, taking up the position of different religion and politics, keep on being antipathetic to him and critical to his works. Both parties appear to overlook the fact that though the magnifying similes seemingly illustrate Hell's greatness, they really emphasize the Creation by using another pricking similes of inflated Satan. Milton's "conscious" meaning is obviously to justify God's providence and man's free will. If this meaning could be weakened to some degree by the "unconscious" meaning which results from high-lighting the Devil, his original intention is consistently felt through- out the text by dint of the magnifying and diminishing similes and his aesthetic distance. To pass impartial judgment on Satanists, we must point not only their failure to see Milton's conscious purpose but their new approach to the unconscious realm.

"L`Allegro" 와 "Il Penseroso" : 詩神과 쟝르 Muses and Genre

이철호 한국밀턴학회 1993 중세근세영문학 Vol.3 No.-

Milton's twin poems, "L'Allegro" and "Il Penseroso", have been much discussed in the light of a variety of taditions-the academic prolusion, the rural excursion, and the argumentative debate-, but their basic relation with classical genre has not been sufficiently noticed. Especially the identity of Mirth and Melancholy not only as classical goddesses but as two speakers' patron goddesses has been overlooked as interpretive guide to the meaning and connection of the companion poems. Milton shows each different kind of genre in epitome by selecting as patroness for "L'Allegro" the most active and social of the 3 Graces, Euphrosyne, and as patroness for "Il Penseroso" the most remote and contemplative of the 9 Muses, Urania. Mirth inspires 'less serious genre' like the lyric, elegiac, and bucolic pastorals, while Melancholy inspires 'more serious genre' such as the intellectual and contemplative idylls. As the speaker of "L'Allegro" makes the whole world of comedy and romance appear in a single figure, Hymen, so the poet of "Il Penseroso" makes the world of Tragedy and Epic in a personified Tragedy. In short, by means of a fusion of the world of classical mythology and the English landscape and social life Milton paints the portraits of the typical elegiac poet, who sings of love and wine, and the typical epic poet, who tackles higher themes and must lead a more ascetic life. The complex difference and similarity between the twin poems must be considered in this respect. Though Milton presents us two different accounts of poetical inspiration, there is no need to choose between the two and to favor the Muses above the Graces or vice versa.

밀턴의 가면극 연구

이철호 한국밀턴학회 2000 중세근세영문학 Vol.10 No.1

Milton wrote Comus, in the first place, as a kind of housewarming entertainment. But when the house is Ludlow Castle and the new occupier the Earl of Bridgewater, who is moving into his official residence as Lord President of Wales, it is not a usual housewarming or entertainment, but a public statement of the important principles of his provincial jurisdiction. As Milton knew the Egertons belonged to a group long recognized for their tacit support of the Puritan cause and the Reformation in England, the work naturally tends to have considerable public and political reference, as well as moral and religious interest. After the work was first put on the stage at the Castle in 1634, Milton continued to revise it though he had no intention to perform it another time. As a result, Milton's Comus has come down to us in five versions from his own lifetime and in later adaptations. They are: Trinity Manuscript(TM), Bridgewater Manuscript(BM), A Maske of 1637(1637), and A Mask of 1645(1645) and 1673(1673). Here I try to trace the differences among the versions and to connect them to its theme of the triumph of virtue over vice. There are two major differences among these five versions. The first fundamental difference arises between BM and all other versions by reason of its omitting six passages that appear in TM. The omissions have usually been taken as cuts, probably made by Lawes, to shorten the time of performance or lighten the young actress's role. They could, however, have been made by Milton while he thought of them as passages which were to be left out for performance's sake. The second difference exists between 1637, which is much alike to 1645 and 1673, and TM. The printed text of 1637 adds the Lady's powerful defence of chastity in her last speech to Comus and amends the epilogue, adding in particular the description of the Garden of Adonis where "Celestial Cupid holds his dear Psyche and makes her his eternal Bride." This revision shows that, as the Puritan Revolution went on, Milton wished to change the first idea of negative aspect of virtue to that of positive aspect, which means that the true Christians shall overcome any difficulties by the help of God's Providence working practically in the history. In a word, the constant returning to Comus shows Milton never lost interest in the ideas it discusses. The deepening political crisis had so changed circumstances that he felt it necessary to change the work from an entertainment for a noble family to a poetic drama in which he could justify the divine intervention in the Puritan Revolution.

Samson Agonistes : 구원의 주제와 비극시의 가능성 The Possibility of a Tragedy with a Christian Theme

李鐵昊 한국밀턴학회 1991 중세근세영문학 Vol.1 No.-

To appreciate Samson Agonistes properly, two facts must be taken into consideration. First, Milton's chief concern throughout his life was with poetry as a means of facing the way of the world and coming to terms with it. The other fact is that like all the Greek tragedies the focus of the poem is concentrated only on the protagonist, who is blind. After Samson becomes a slaving and blind prisoner, he makes his first appearance on the stage. He cannot see, nor can he make physical movement freely. So the action of the poem must take place in the hero's inner world, and be expressed mainly through the dialogues between him and his visitors. Moreover, the audience who has already known the story of Samson is interested not in what he does but in how he does it. Hence, the 2nd section discusses how Milton makes free but proper use of the essential elements of Greek tragedy such as chorus, hubris, and catharsis in a poem focused on the blind hero's inner development toward regeneration. In section 3, the law of the plot and the way of unfolding and supporting the plot by recurrent images, motifs, and the 'talent' metaphor are studied. It cannot be said that the visitors come according to Aristotle's law of inevitable or probable sequence. Though his law is not applicable here, there is a law which is one of increasing tension. That is, the visitors appear in order to develop and intensify the inner drama of Samson. The 4th section discusses the tragic qualities of Samson Agonistes. To be really effective, a tragedy with a religious theme should present in a persuasive way the interaction between a suffering man and the supernatural power. In a Christian tragedy there must be the doubt and the pain, or the pity of the human sufferer as well as the affirmation and awe of God's Providence. In short, the hero's religious resolution and victorious death do not lessen our concern for Samson the man. The interaction between Samson's free will and God's Providence makes the poem a tragedy, not a mere religious poem. Samson suffers and learns as a man before he can fulfill God's will. Indeed, God's presence seems to preside over the whole play, but we can also find human stubbornness, pride, ignorance, weakness, and, in spite of all, human dignity. This article tries to show that Samson Agonistes is a tragedy which focuses not on the conflict between God and Dagon, or Samson and the Philistines but on the suffering and regeneration of the fallen Samson when he makes desperate efforts to overcome his predicament and to vindicate God's way to man. Samson Agonistes is a tragedy which deals with the meaning of human suffering in the context of Christian salvation.

보건관리위탁업무에서의 직업환경의학 전문의의 역할

이철호 대한직업환경의학회 2016 대한직업환경의학회 학술대회 논문집 Vol.2016 No.11