유연생산시스템에서의 버퍼시스템 설계

강희정,김환성,조남호 ( Hee Jung Kang,Whan Sung Kim,Nam Ho Cho ) 한국품질경영학회 1992 품질경영학회지 Vol.20 No.2

젖소의 유방염 원인균 분리 및 약제 감수성 검사

강희정,김익천,김진회,손원근,이두식,Kang, Hee-Jung,Kim, Ik-Chun,Kim, Jin-Hoe,Son, Won-Geun,Lee, Du-Sik 대한수의학회 2001 大韓獸醫學會誌 Vol.41 No.4

Microorganisms were isolated and identified from bovine 296 quarters which showed positive reaction by California Mastitis Test (CMT) in 40 farms of Jeju from September 1999 to June 2000. The organisms associated with the mastitis of bovine were 11 different bacterial species in this study. Which of them, Staphylococcus aureus was the most predominant species as 152 (51.4%) isolates. Other identified species included 49 (16.5%) coliform, 47 (15.8%) Streptococcus dysgalactiae, 15 (5.1%) Bacillus spp., 8 (2.7%) Staphylococcus epidermidis, 6 (2.1%) Streptococcus agalactiae, 5 (1.7%) Enterococcus faecalis, 5 (1.7%) Corynebacterium spp., 3 (1.0%) Streptococcus uberis, 1 (0.3%) Pseudomonas aeruginosa and 1 (0.3%) Pasteurella haemolytica. Almost of all the islolated beacterial species showed high sensitivity against kanamycin (98.6%), cephalothin (98.0%), streptomycin (94.9%), gentamicin (94.6%), ampicillin (92.2%) and polymyxin B (90.2%). On the contrary, they showed resistance against penicillin (47.0%), tetracycline (37.2%), cefazolin (26.0%), bacitracin (22.6%) and erythromycin (19.9%). Eighty-one isolates were not resistant to any antibiotics and 215 drug resistant isolates showed 89 different drug resistance patterns from single to nine multiple antibiotics resistance patterns.

명작의 탄생: 20세기 석굴암의 신화

강희정 ( Hee Jung Kang ) 미술사와 시각문화학회 2013 미술사와 시각문화 Vol.12 No.-

How did Seokguram become a Masterpiece? This research argues that the idea of Seokguram as a masterpiece was not developed a priori. The historical value of the Seokguram Grotto in Korean art history is undeniable. Seokguram has been well acknowledged for its architectural and technical excellence not to mention its artistic value. However, its significance may have not been recognized properly if no one had paid any attention to it. It was during the Japanese colonial period when Seokguram earned its status as masterpiece and its historical importance was highly emphasized. It is interesting to note that the people who made Seokguram the most representative masterwork and glorious monument of Korean Buddhist art were not Korean but Japanese. However, in the 1930s, Korean intellectuals began to glorify Seokguram as their proud cultural heritage. For them, Seokguram was the historical monument embodying national essence and spirit. As a result, Seokguram came to be designated as national masterwork. In order to educate Korean people as Japanese civilians, Imperial Japan included discussions and photos of Seokguram in Japanese school textbooks. The Republic of Korea, a newly established nation, also made efforts to highlight the significance of Seokguram in school textbooks for Korean language and Korean history classes. Although school curriculums have been revised many times, the significance of Seokguram as one of the greatest masterpieces in Korean art that represents national pride and spirit has not been changed. What is the significance of the facts that the writings about Seokguram have mostly been included in Korean language textbooks and that these writings are, in nature, This has mainly been influenced by the textbook compliers who took nationalist approaches to the value of Seokguram. For them, Seokguram was the most important symbolic capital evoking the glorious past of the nation. As a result, the historical and art historical meanings of Seokguram had rarely been discussed. Due to this fervor of ethnic nationalism coupled with the dominance of political authoritarianism, Seokguram was used as a means of promoting national consciousness and identity in educational fields in Korea. Since the 1990s, when the ideological conflicts of the Cold War era came to an end, writings about Seokguram have been hardly seen in newly revised textbooks. This phenomenon coincided with the situation of the period when world-wide globalization was accelerated and fervent nationalism lost its appeal. During the 1950s when the Korea was under the tight control of Japanese influence, and the 1970s, when the Cold War between South and North Korea was intensified, both countries asserted the legitimacy of their own nations. Until the 1970`s when nationalism was emphasized and the 1980`s when the slogan of “our own” was overstressed, the education of ethnic nationalism through textbooks was fully devoted to highlighting Seokguram as national treasure. In the nationalist education system, Seokguram stood somewhere between a masterpiece and an ideological product.

25kg급 드론용 프로펠러 성능시험 평가

강희정(Hee Jung Kang),위성용(Seong-Yong Wie) 항공우주시스템공학회 2018 항공우주시스템공학회 학술대회 발표집 Vol.2018 No.4

머라이언과 박물관: 싱가포르의 국가 만들기

강희정 ( Hee Jung Kang ) 서강대학교 동아연구소 2011 東亞 硏究 Vol.30 No.1

Nation building was one of the most important tasks for New nation, Singapore since the nation declared its independence. The people in Singapore had not enough time to make their own national identity, which was multi-racial, multi-lingual, multi-cultural. It was definitely necessary and impending job for the governors to invent their own nation. The former Prime Minister Lee Kuan Yew gave a public speech twice in 1972 and 2002 at the ceremony to celebrate the completion and re-location of the first Merlion statue near The Fullerton House. And his son, Prime Minister Lee Hsien Loong took the lead in establishing the Asian Civilization Museum. Another former Prime Minister Goh Chok Tong talked to the congress that their museums had to cohere the memory of the nation. All the bureaucrats of Singapore knew how to use various relics, visual artifacts and symbols for the nation. Through the all kinds of exhibitions, dioramas, motion pictures about their history and culture, and electronic devices they successfully built their national identity. Even if their ancestors originated from all over Asia, now they get to perceive one nation as Singaporean.

6-7세기의 동남아 힌두 미술 -인도 힌두미술의 전파와 초기의 변용-

강희정 ( Hee Jung Kang ) 한국동남아학회 2010 동남아시아연구 Vol.20 No.3

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. Indianization is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a selective reception of foreign religious culture. There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an Indianization or the influx of elements of Indian culture, it was closely related to the matter of `localization.` The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.

발전부문 온실가스배출과 가스발전의 역할 분석

강희정(Kang Hee-Jung) 한국가스학회 2006 한국가스학회지 Vol.10 No.4

OPPAV 후방 프롭-포드 시스템 유동 해석

강희정(Hee Jung Kang),최성욱(Seong-Wook Choi) 한국항공우주학회 2021 한국항공우주학회 학술발표회 논문집 Vol.2021 No.11

『코리올레이너스』: 셰익스피어의 비극에 나타난 정치성

강희정(Kang Hee Jung) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.4

Coriolanus, the last one in William Shakespeare's tragedies, deals with a unique tragic death of the Roman hero Coriolanus in a time of transition from monarchy to republicanism. In Coriolanus Shakespeare sharply delineates such political matters as the class struggle between plebeians and patricians so far as for it to be called the most political play in his entire tragedies. However, Shakespeare gives no clear indication of his political outlook in the play, keeping a critical distance aloof from the world of politics. Whatever might be considered political is all dissolved into the desire of Coriolanus as a unique Roman hero. Coriolanus is indeed an experimental tragedy in that it combines the political history of the transitional Roman era and the general rubric of the tragedy genre newly constructed by his genius. The intense conflict is suggested to be going on endlessly between the hero who tries to achieve an essentialist ideal self and the contingent political situations which are dependent on the desire of the self-interested public. The singularity of Coriolanus derives from a primordial sense of the world split between the distorted image of the unprincipled commoners and an alienated private selfhood of the hero Coriolanus whose desire is ironically determined by patriarchy, an ideology which is oppressive yet strangely appropriated by such woman figures as Volumnia in the play. Understanding Coriolanus requires not only a correct evaluation of the failure of both the individual Coriolanus and the distorted political world of Rome but also a penetration of Shakespeare's complicated socio-historical vision. Shakespeare brings out a gap between the private and the public and presents his tragic world view deriving, though in a complex mode, ultimately from the skepticism of the later Renaissance. More specifically, Coriolanus can be considered also to have reflected the socio-political and moral instabilities of Jacobean England.

무베어링 로터 허브 형상에 대한 요구도 분석 및 항력 예측

강희정(Hee Jung Kang) 한국항공우주연구원 2012 항공우주기술 Vol.11 No.1

무베어링 로터 허브시스템 개발에서 할당된 공기역학적 허브 항력 요구도를 분석하여, 요구도에서 제시된 방법으로 입증 가능하도록 요구도를 구체화 시켰다. 초기 허브 형상에 대해 공력계수에 기반하여 항력 예측을 수행하였으며, 요구도 충족을 위한 설계 변경안을 제시하였다. 최종 형상에 대해 전산유체기법을 사용하여 항력 예측을 수행하였으며, 그 결과 구체화된 요구도를 만족시킴을 확인할 수 있었다. 또한 기 개발된 헬리콥터의 추세선으로 부터 유추할 수 있는 허브 항력의 범위 내에 있음을 확인할 수 있다. The requirement for the aerodynamic hub drag, allocated from the system requirement of development of a bearingless rotor hub, was analyzed and embodied to be substantiated by the methodology assigned from the requirement. Drag prediction for the initial hub configuration was carried out by hand calculation using aerodynamic drag coefficients and the design change about the sectional shape of torque tube was suggested to satisfy the requirement. Finally, drag prediction was performed for the changed hub configuration by using unstructured overset mesh technique and parallel computation and the calculated result satisfied the requirement of the aerodynamic hub drag. It was found that the drag of final hub configuration was also within the range of drag inferred from the trendline of developed helicopter.