Cu-TiB₂ 복합재료의 마모거동에 관한 연구

김정남,최종운,강계명,Kim Jung-Nam,Choi Jong-Un,Kang Kae-Myung 한국재료학회 2005 한국재료학회지 Vol.15 No.1

The titanium $diboride(TiB_2)$ has high strength(750MPa), high melting point $(3225^{\circ}C)\;and\;10\%$ IACS electrical conductivity. On this account, the dispersion hardening $Cu-TiB_2$ composites(MMCs) are a promising candidate for applications as electrical contact materials. MMCs for electrical contact materials can reduce material cost and resource consumption caused by wear, due to its good mechanical and electrical property. In this study, we attempt to prepare MMCs with various volume fraction and particle size of $TiB_2$ by means of hot extruded and cold drawn process. Dry sliding wear tests were performed on a pin-on-disk type wear tester, sliding against SM45C under the different applied loads. After wear testing, the microstructures of the worn surfaces were observed by SEM and the microhardnesses of the subsurface zone were measured.

安徽簡『詩經』과 전래본 『詩經』의 문자 차이 고찰

김정남(Kim, Jung-nam) 한국중어중문학회 2020 中語中文學 Vol.- No.82

Bamboo slips collections of AnHui University shijing, which was officially announced in 2019, has a significant number of character differences compared to Maoshiben. These differences can be covered in the categories of Variant Characters in a large way, but in detail, they can be divided into Ancient and Modern Word, Interchangeable Words, Vulgar Characters. Through the discovery of Bamboo slips collections of AnHui University shijing, the cause of this difference can be found. This paper would like to examine the various character differences by presenting some examples related to this. The conclusions obtained from the analysis are as follows: First of all, the process of transferring editions by period was not smooth. Secondly, the character difference between Bamboo slips collections of AnHui University shijing and Traditional shijing is mainly caused by the Interchangeable Words. Thirdly, certain types of shapes were added as needed. It is estimated that this method was useful in transforming the historical perspective into a scripture.

학습자용 활용형 사전을 위한 제안

김정남(Kim Jung-nam) 한국사전학회 2003 한국사전학 Vol.- No.2

This paper is written for two purposes. One is to emphasize the necessity for the editing of Korean conjugation dictionary for learners of Korean as a foreign language. Another is to propose the orientation of the design of the Korean conjugation dictionary. At present, it is true that the theme dictionary is rare. The dictionary that explains the grammatical items has been being published one after another, but it seems that there are not many who realize the acute necessity of the Korean conjugation dictionary. That point is the motivation of this paper. In this paper we explained why the Korean conjugation dictionary is necessary for learners of Korean as a foreign language, especially for beginners, and examined how it is designed and consisted. In the Korean conjugation dictionary, the entries are not words or morphemes but combinations of nouns and postpositions or verbal stems and endings. And we proposed to select and register the homonyms to make this dictionary successful in practical usage. That is, it is recommended to register both '가니1' and '가니2' for respectively the inflected form of '가다' and that of '갈다', so that the user can find out the basic form of each inflected form easily. It is preferred to give the semantic information only in the entry for the basic form, because giving the semantic information in every inflected form is inefficient.

『朝鮮王朝實錄』에 나타난 御筆形成에 관한 書藝的 考察

김정남(Kim, Jung Nam) 한국서예학회 2015 서예학연구 Vol.27 No.-

본 논문은 먼저 서예가 왕과 왕실에게 어떠한 의미와 가치가 있고,『朝鮮王朝實 錄』에 실려 있는 어필형성에 영향을 미친 내용을 탐색하여 어필의 서예사적 의미 를 추출해 내고자 하였다. 조선은 유학을 지도이념으로 개창한 유교국가로서 심미와 예술은 사람이 仁이란 정신경계에 도달하기 위한 방편으로만 인정되었다. 동한시대의 趙壹은 서예를 修身齊家하고 治國平天下에 해당하는 聖人의 業과 聖人의 道를 넓히고 세상을 일으킨다는 ‘弘道興世’의 관점에서 書藝를 이해하였다. 따라서 서예 는 임금의 수양의 도구임과 동시에 나라 경영의 수단으로서의 가치를 갖는다. 여말 선초 어필과 관련한 서예적 환경은 조선이 건국되기 이전부터 趙孟?體가 이미 대 세를 이루었고 그 뿌리가 깊게 자리하고 있었다. 이러한 여건 속에서 조선왕조도 고 려 말부터 신진사대부를 중심으로 조맹부체가 사용되고 있었고, 이후 안평대군체, 석봉체에 영향을 미쳤다. 조맹부가 남긴 다양한 형태의 말년 해서작품 중에서 어필 에 영향을 미쳤다고 판단된 자료로는 , 〈汲?傳〉, 이고, 이 중 에서 가장 직접적인 영향을 미친 자료는 임을 확인할 수 있다. 이들 서체의 형태적 특징은, 宋代의 유행서풍이었던 황정견과 소식의 영향을 받은 것으로 첫 째, 가로획은 左底右高形으로 기울기가 큰 편이며, 특히 글자 중 左邊?의 가로 ? 사 선획의 기울기의 경우 급경사를 이루는 경향이 많다. 둘째, 가로획 중에서 主?의 길이가 다른 획에 비하여 길다. 셋째, 모든 획의 굵기의 변화가 크지 않다. 안평대군 체는 조선 초기 조맹부체를 아래의 두 가지 형태로 소화하여 어필에 뿌리내리는 가 교의 역할을 하였다. 그 두 가지 형태는 ①첫째, 조맹부체를 姸媚하고 부드러운 형태로 소화한 경우로 대표적 작품으로 와 이 있다. ②둘 째, 北魏風의 필법으로 직선적이고 강하게 소화한 경우로 와 이다. 한석봉체는 시기적으로 조맹부체가 이황과 송시열 등 사림 성리학자들의 비난의 대상이 되었지만, 엄격하면서도 중정한 서체를 선호하게 되 어 안진경체 등과 함께 선조이후 어필에 영향을 주었다. 조선왕들의 어필은 조맹부, 안평대군, 한호의 서체와 직접적으로 밀접한 영향관계를 유지하면서 왕마다의 다양하게 이를 소화하여 각양의 특성을 가진 조선왕조의 어필을 탄생시킨 것이다. This study intends to abstract the meaning of king’s handwriting in the history of calligraphy by understanding how meaningful and valuable calligraphy is to the kings and the royal family and investigating the contents influenced to form king’s handwriting in『The Annals of the Joseon Dynasty』 . Joseon dynasty was founded with Confucianism as a founding principle, so aesthetics and art were considered as the means for people to achieve the spiritual boundary, which was the benevolence. Zhaoy? of Eastern Han comprehended calligraphy from the perspective of the sage’s works that represented cultivating oneself, regulating well one’s family, governing well one’s state and bringing peace to the world and Hongdaoxingshi(弘道興世), which means widening the sage’s Tao and prospering the world. Therefore, calligraphy was valued as a tool to cultivate the king himself and a means to govern the state at the same time. In the calligraphic circumstance related to king’s handwriting in between late Goryeo and early Joseon, the style of Zhaomengf?’s handwriting has been a great trend and deeply rooted. The style of Zhaomengf?’s handwriting has been used mostly by the new literati since late Goryeo, and it has influenced to the styles of prince Anpyeong’s handwriting and Seokbong’s. Among Zhaomengf?’s calligraphic works in regular script in his latter years, 〈Zhengdaog?〉, 〈Jianchuan〉 and 〈Daodej?ng〉 have influenced to king’s handwriting, and 〈Zhengdaog?〉 has most directly influenced among others. Their styles of handwriting were influenced by those of Huangtingji?n and S?shi’s handwritings, those were very popular in Song dynasty, and its formative characteristics were as follows. First, the left part of cross stroke is low, and the right is high, so that the slope is big. Especially the slope of a cross and diagonal stroke in the left part of characters tends to be steep. Second, the main stroke among the cross strokes is much longer than others. Third, the change of all the strokes’ thickness is not that big. The style of prince Anpyeong’s handwriting has played a major role in letting the style of Zhaomengf?’s handwriting take root within king’s handwriting by digesting it in two ways. Firstly, it digested the style of Zhaomengf?’s handwriting as a pretty and smooth form, and its representative works were the statement of 〈Mengyoutaoyuantu〉 and . Secondly, it followed the calligraphic style of Northern Wei, which was straight and strong, its representative works were and . The style of Zhaomengf?’s handwriting has been blamed by Neo-confucianism scholars such as Lee, Hwang, Song, Siyeol and etc., but people have become to prefer a rigorous and impartial style, so that the style of Seokbong’s handwriting has influenced to king’s handwriting since King Seonjo, along with that of Yanzh?nq?ng’s. Kings’ handwritings in Joseon dynasty have maintained an affirmative influential relationship with the styles of Zhaomengf?’s handwriting, prince Anpyeong’s and Seokbong’s, and they have had diverse characteristics by accepting them differently.

Charge-trap Flash 메모리 기반 채널 적층형 3 차원 AND형 시냅스 어레이와 동작 방법

김정남(Jung Nam Kim),김윤(Yoon Kim) 대한전자공학회 2022 전자공학회논문지 Vol.59 No.1

본 연구에서 charge-trap flash 메모리 기반 채널 적층형 3 차원 AND형 시냅스 어레이 및 제안한 어레이의 층별 동작 수행을 위한 층별 선택회로를 제안하였다. Folwer-Nordheim (FN) 터널링을 기반으로 하는 시냅스 어레이 및 층별 선택 회로의 동작 방법을 제안하였다. 시냅스 어레이의 3차원 구조 및 층별 선택 회로를 고려한 technology computer-aided design (TCAD) 소자 시뮬레이션을 수행하여 시냅스 가중치 조절 중에 발생할 수 있는 간섭 현상을 확인하였다. 이를 통하여 본 연구에서 제안한 3차원 AND형 시냅스 어레이 동작 방법의 실현 가능성을 확인하였다. In this work, we proposed a channel stacked three-dimensional (3-D) AND-type synapse array based on charge-trap flash (CTF) memory with a layer select circuit which provides layer specific operation of synapse array. In addition, we proposed Fowler-Nordheim (FN) tunneling based operation methods of synapse array and layer select circuit. We performed technology computer-aided design (TCAD) device simulation considering the 3-D structure of the synapse array and layer select circuit to verify any disturbance while modulating synaptic weight. We demonstrated the feasibility of the operation methods of 3-D AND-type synapse array which are proposed in this work.

書體분석을 통한 蒼巖서예 考察

김정남(Kim, Jung-Nam) 한국서예학회 2020 서예학연구 Vol.37 No.-

This paper attempts to rediscover Changam calligraphy at this point through detailed analysis and examination of the overall typeface of Changam Lee Samman(李三晩). Changam is a calligrapher who worked with Chusa(秋史) in 19th century. In the meantime, the Korean calligraphy world has been all about the study on Chusa, and proper evaluation of Changam has been relatively insufficient. The reality is that some fragmentary Changam research are generalized and evaluated as all of him. Therefore, this study analyzed the typeface of Changam, which is the most basic of Changam research, in detail by period and type, and examined the characteristics and changes of Changam typeface, the position and role of Changam in Korean calligraphy history, and Changam from a more objective and empirical perspective. First, Changam created various styles of the typeface, not just water-flowing style. Changam had a steady academic course until his 40s, and he met the time of passion in his 50s. used various forms of works. By combining styles of An Jin-kyung(顏眞卿), Wang Hee-ji(王羲之), Songdae(宋代), and Dongichang(董其昌) freely, various attempts were made. By the age of 60s and 70s, Changam s original typeface was implemented. The quality of his work is musculoskeletal that can not be felt in any of the previous works, but it is clear and elegant, creating a natural feelingy, and conveying a unique gift to calligraphy and aesthetics on the Korean peninsula. Second, Changam was only a local servant, but with innovative and subjective self-esteem, he made various efforts to overcome the bigoted Chosun calligraphy reality at the time. In his youth, the sad calligraphy culture reality of the time and the position of calligraphy culture in Chosun in the relationship with China were grasped. As one of the concrete methods to overcome this, He published the popular book Hwadongseo law at the age of 31. And, with the subjective attitude, he tried to discover not only Chinese calligraphers but also previous calligraphers of Chosun, and to invent the true typeface of Chosun by indulging their calligraphy. Third, Changam continued to play a role as successor to the spirit of Donggukjinche(東國眞體 精神) in Chosun, which has been going on since the 17th century. In other words, Changam is directly or indirectly connected to his teacher, Wongyo(圓嶠), and it is confirmed empirically in the typeface that he was the successor of the DonggukJinche Spirit of 許穆·李漵 from far away. Changam struggled to realize the characteristics that Wongyo ideally expressed from the early academic course to the day before his death, and there was no respect for Wongyo. However, Changam s calligraphy has already exceeded Wongyo, and in the case of Wongyo, his theory was generally sufficiently sympathetic, but in the case of his writing, he was criticized. In this case, Changam was able to overcome the teacher s writing by pioneering his new position silently by receiving his spirit rather than the attitude of criticism about the teacher Wongyo. As mentioned above, Changam has a unique position in calligraphy on the Korean peninsula. He created a unique the style of calligraphy that is not confirmed in the Korean peninsula or any other the style of calligraphy of China, such as Chusa, who was active in his contemporary times. As a result, the calligraphy culture on the Korean peninsula has become richer and more diverse due to Changam and Chusa. This shows that the spirit of Donggukjinche, which was established on the Korean peninsula since the 17th century, began and expanded with Changam·Chusa in the 19th century. Based on this analysis of Changam font and its contents, I hope that more comprehensive and systematic aesthetic research of Changam font will deepen. 본 논문은 창암 이삼만의 서체 전반에 대한 세부적 분석·고찰을 통해 창암서예을 오늘의 시점에서 재발견하고자 하였다. 창암은 19세기 추사와 같이 활동한 서예로, 그동안 한국 서예계는 온통 秋史에 집중되어 상대적으로 창암에 대한 연구가 미흡하였고, 창암에 대한 일부 단편적인 내용이 일반화되어 평가되고 있는 게 현실이다. 이에 본 논문은 창암연구의 가장 기본이 되는 창암의 서체를 시기별, 종류별로 세부적으로 분석하여 창암 서체의 특징과 변화과정, 그리고 창암의 한국서예사에 있어서의 위치와 역할 등에 대한 고찰, 좀 더 객관적·실증적 관점에서 창암을 살펴보고자 하였다. 첫째, 창암은 단순한 行雲流水體 정도의 書가 아닌 다양한 서풍을 구현하여 그만의 독특한 창암체를 창출하였다. 창암은 40대까지는 착실한 학서과정을 거쳤고, 50대에 질풍노도시기를 맞이하여 안진경, 왕희지, 宋代, 동기창 등의 서풍을 자유자재로 접목시켜서 다양한 시도를 하였다. 60대와 70대에 이르러 창암만의 독창적 서체를 구현하였다. 그의 작품의 품격은 이전의 어느 시대 어느 누구의 작품에서 느낄 수 없는 근골이 있으면서도 맑고 유려하여 草率한 느낌의 서풍을 창출하여 한반도 서예사와 미학에 독특한 선물을 전수하였다. 둘째, 창암은 지방의 서생에 불과하였지만 혁신적·주체적인 자존감을 가지고 당시 편협된 조선 서예현실을 타개해 나가고자 다양한 노력을 하였다. 청년시절에 당시의 안타까운 서예문화 현실과 중국과의 관계에서의 조선의 서예문화 위치를 파악하고. 이를 극복하기 위한 구체적 방법의 하나로 31세에 대중적 서첩인『화동서법』을 발간하였다. 그리고 소중화사상에 입각한 주체적 자세로 중국의 서예가뿐만 아니라 조선의 역대 서예가를 발굴, 그들의 서법을 탐닉하면서 진정한 조선의 서체를 창신해 나가고자 하였다. 셋째, 창암은 17세기부터 이어져 온 조선의 동국진체정신의 계승자로서의 역할을 이어갔다. 즉 창암 書는 가까이는 그의 스승인 원교와 직간접적으로 연결되어 있고 멀리는 許穆·李漵로부터 이어지는 동국진체정신의 계승자였음이 서체에서 실증적으로 확인된다. 창암은 초기 학서과정부터 서거직전까지 원교가 이상적으로 표현하고자 한 특징을 구현하고자 몸부림쳤고 원교에 대한 존숭의 자세도 그지없었다. 그러면서도 창암의 서법은 이미 원교를 넘어섰다. 원교의 경우에 그의 書論은 일반적으로 충분한 공감력이 있었으나 그가 쓴 書體의 경우는 일부 비판을 받았다. 그럼에도 창암은 스승 원교에 대하여 비평의 자세보다 그의 정신을 받들어 묵묵히 그만의 새로운 경지를 개척하여 스승의 글씨를 뛰어 넘을 수 있었다. 이상과 같이 창암의 書는 그동안 한반도 서예에 있어서 독특한 위치를 점하고 있다. 그는 동시대에 활동하였던 추사와 같이 한반도나 중국의 여느 서풍에서도 확인되지 않는 독특한 서풍을 창신 하였다. 이로 인해 한반도 서예문화는 창암과 추사로 인해 더 풍성하고 다양한 열매를 맺어갔다. 이는 17세기 이후 한반도에 조성된 동국진체의 정신이 19세기에 이르러 창암으로 시작하여 추사와 함께 더욱 확장시켜 나갔다는 것을 보여준다. 필자는 이번 창암 서체분석과 그에 대한 고찰내용을 바탕으로 좀 더 종합적이고 체계적인 창암서체의 미학적 연구 등이 깊어가기를 기대한다.

淸華簡 『金縢』을 통해 본 『尙書』 ‘詰屈聱牙’ 현상의 유형적 고찰

김정남(Kim, Jung-Nam) 중국문화연구학회 2015 중국문화연구 Vol.0 No.27

특집 : 텍스트언어학과 언어교육 ; 대학 작문 교육에서 텍스트 이론의 적용 가능성에 대한 검토

김정남 ( Jung Nam Kim ) 한국텍스트언어학회 2004 텍스트언어학 Vol.17 No.-

동일 어미 반복 구문의 통사와 의미 -한국어 문법,어휘 연계 교육에 대한 제안-

김정남 ( Jung Nam Kim ) 이중언어학회 2007 이중언어학 Vol.34 No.-

조자(造字) 원칙 관점에서 본 “訛變” 小考

김정남(Kim, Jung-Nam) 한국중어중문학회 2016 中語中文學 Vol.0 No.65

corruption(訛變) is an irregular process of change that does not follow the principles of change in ancient characters. Originally, corruption was regarded as a unique phenomenon that occurred temporarily, but we’ve newly confirmed that corruption is not a temporary phenomenon but rather a process of ancient character transition that continuously occurred through excavated documents that has continued to be discovered since the 20<SUP>th</SUP>century. This paper chose the major principles that form the structure of ancient characters such as Heosin’ssuggestion of The Six Principles Theory (六書) rather than a temporary unique corruption. In order to emphasize the necessity of that, we show how the structures of ancient characters were changed through examples of real transitions, and regard this as the occurrence of a new character shape. We suggested a couple required conditions for making these characters as a rule: first, they have to be separate from corruption concepts in existing variant forms, and secondly, they are selected as having different range principles different from Chinese character classification, such that the Chinese character transition process needs to be explained.