LVDC 접지용 커패시터 사용에 따른 단시간 인체감전 영향 분석

임승택(Seung-Taek Lim),이기연(Ki-Yeon Lee),김동우(Dong-Woo Kim),채동주(Dong-Ju Chae),문재현(Jae-Hyeon Moon),임대식(Dae-Sik Lim) 대한전기학회 2021 대한전기학회 학술대회 논문집 Vol.2021 No.7

구사론 파아품에 나타나는 무아(無我, anattan)의 변용 Ⅰ

임승택(Seung-taek LIM) 불교학연구회 2022 불교학연구 Vol.71 No.-

본 논문은 구사론 파아품에 나타나는 무아 해석을 니까야에 나타나는 초기불교의 무아 유형들과 비교한 것이다. 파아품의 무아 해석은 초기불교 이후 새롭게 등장한 무아 관련 논의를 반영하는 것으로 다음의 5가지 경향으로 구분해볼 수 있다. <A형 무아 해석>: 초기불교 무아설의 주류적 가르침에 합치하는 경우, <B형 무아 해석>: 주류적 가르침에 연결되지만 새로운 관점과 설명방식을 도입하는 경우, <C형 무아 해석>: 초기불교 무아설의 이질적 경향에 합치하는 경우, <D형 무아 해석>: 이질적 경향에 연결되면서 새로운 관점과 설명방식을 도입한 경우, <E형 무아 해석>: 초기불교에서는 찾아볼 수 없는 새로운 관점을 제시하는 경우 등이다. 필자는 파아품 전체를 43개의 단락으로 나누고서, 그 중 대표성을 지닌 5개의 단락을 선별하여 이상의 5가지 경우에 배대해 보았다. 도입부의 단락 1)은 초기불교 무아 서술의 주류적 경향에 연결시켜볼 수 있지만 새로운 관점과 설명방식을 도입한 경우로서 <B형 무아 해석>에 해당한다. 단락 43)의 맺음게송은 새로운 무아관을 제시하는 경우로서 <E형 무아 해석>으로 귀속시킬 수 있다. 단락 10)은 ‘유정(satta)’이라는 존재를 수레 부품의 조합에 비유한 것으로 <C형 무아 해석>으로, 단락 40)은 인과적 관계를 벗어난 독존적 주체는 인정될 수 없다는 것으로 <D형 무아 해석>으로, 단락 27)은 초기불교 무아의 주류적 경향을 그대로 잇는 경우로서 <A형 무아 해석>으로 갈래지을 수 있다. 이상의 분류를 통해 파아품의 무아관은 일관된 관점을 견지하지 못하며, 초기불교의 가르침을 답습한다기보다는 새로운 관점을 도입하는 데 역점을 두었다고 것을 알 수 있다. 바로 이것이 붓다에 대한 왜곡인지 혹은 창조적 계승을 의미하는 것인지에 대해서는 더욱 많은 논의가 필요해 보인다. 본 논문은 그 부분을 밝히려는 일련의 후속 연구에 대해 시론적(試論的) 성격을 띤다고 할 수 있다. This paper compares the interpretations of selflessness (anattan) in the Ātmavādapratiṣedha of Abhidharmakośabhāṣya with the types of selflessness teachings in Early Buddhism. The interpretation of selflessness in the Ātmavādapratiṣedha reflects the discussions that newly emerged after Early Buddhism, and can be classified into the following five cases. Type A: interpretations of selflessness that are consistent with the mainstream trends of Early Buddhism; Type B: interpretations of selflessness that could be connected to the mainstream trends of Early Buddhism but introduce new perspectives and explanatory methods; Type C: interpretations of selflessness that are connected to heterogeneous trends in Early Buddhism; Type D: interpretations of selflessness that could be connected to heterogeneous trends in Early Buddhism but introduce new perspectives and explanatory methods; and Type E: new interpretations of selflessness that cannot be found in Early Buddhist teachings. I divided the entire Ātmavādapratiṣedha into 43 sections, selected five representative sections, and arranged them into the above-mentioned five types. The first section (1) of the introduction and the last section (43) of the concluding part represent the interpretation of selflessness in the Ātmavādapratiṣedha. Section 1) is associated with mainstream trends in Early Buddhism, but it may also be attributed to Type B, introducing new perspectives and explanatory methods. Section (43) presents new perspectives that cannot be found in Early Buddhist teachings. Therefore, it can be classified as Type E. In section (10), the existence of person (satta) is compared to a combination of cart parts, and this belongs to Type C. Section (40) corresponds to Type D in that the self or person as an independent subject beyond a causal relationship cannot be recognized. Finally, section (27) exemplifies the inheritance of mainstream trends in Early Buddhist teachings; the content of this section conflicts with that of the four above-mentioned types, and this section can be classified as Type A. Therefore, it is difficult to say that the Ātmavādapratiṣedha presents a consistent view of selflessness. It can also be claimed that the Ātmavādapratiṣedha is more concerned with introducing and interpreting new perspectives than with adhering to the standpoint of Early Buddhism. It seems that more discussion is needed as to whether these points are distortions of Buddha’s teachings or whether they reflect creative succession or development. To address these points, it is necessary to expand on the remaining sections that were not covered in this study and on the contexts in which perspectives on selflessness have evolved over the course of the history of Buddhist literature. This paper can be said to be an introductory article for such subsequent research.

두번의 퀜치를 갖는 초전도한류기의 동작특성 및 전력부담 분석

임승택(Seung-Taek Lim),고주찬(Ju-Chan Go),나승성(Seung-Sung Na),임성훈(Sung-Hun Lim) 한국조명·전기설비학회 2016 조명·전기설비학회논문지 Vol.30 No.7

SFCL(superconducting Fault Current Limiter) which had zero impedance characteristic does not have power loss and limits quickly fault current. So it plays a rule as a protective equipment. And there are many type of SFCL. In this paper, we analyzed a SFCL with twice Quench so as to improve existing SFCL that operates regardless of scale of fault current. This SFCL with twice quench composed of extra series resistance(RS) and could limit once or twice dependent on scale of fault current. We analyzed operating characteristics and power burden of SFCL and its components according to fault position and series resistance(RS). Through the analysis, we could confirm that SFCL with RS operated at lower current, limited the fault current faster. And components’s power burden could be analyzed.

대단면 스킨팀버의 용재 가능성과 이를 활용한 생활용품 디자인 개발

임승택(Seung Taek Lim) 한국가구학회 2013 한국가구학회지 Vol.24 No.1

Timber is an eco-friendly material that is suitable for low carbon and green growth, and recently, studies on utilization and manufacture of timber are increasing. Thus, we need a stable supply of wood working materials for the formative element and widespread function of timber. It is necessary to develop the use of timber because it enhances the added value of this material by making the most of it. In this way, skin-timber is an appropriate material for life articles because skin-timber has a variety of functions including the ability for storage use, the beauty of structure, the ability to maintain heat and insulation, and the capability to control humidity. In this study, I developed household items using skin-timbers that are made up of circular columns and square columns of pine, larch, and yellow popular. The circular and square columns have an inner hole that is approximately 90% of the external structure’s width. I intended for the concept of these designs to display creativity considering functionality and productivity. These items are life articles and furniture for modern people. They are eco-friendly products that are varnished with traditional lacquer and natural oil. According to the result of this study, skin-timbers are made of domestic pine, larch, and yellow popular and are resource of furniture, household items, and woodcraft. I believe skin-timber is not only a useful material for processability and design applicability, but it also has the capability to be a multifunctional and high value-added material. Also, if the standards, such as cortex thickness, outside diameter, and length, of skin-timber are producted diversely, I believe skin-timber can be have more the possibility of industrial products’ development.

나전장 김봉룡 화병디자인의 조형 분석

임승택 ( Seung Taek Lim ) 한국화예디자인학회 2014 한국화예디자인학 연구 Vol.30 No.-

This is the study of analyzing the formative elements of the patterns expressed in his Najeon ware 20 pieces of Bong-Ryong Kim who worked as a Najoen Master from Japanese colonial era until 1946 after Korean independence. This helps looking deep into the formative characteristics of Najeon vase as the floral vase. First, to understand the foundational information about the analysis of the formativeness, theories about the Najeon ware and the vase are researched from the related document. The analysis of the formativeness is processed by the case study and the literature research within the scope of the basis materials of vase, kinds of vase, kinds of patterns, the layout of pattern and the expressive techniques of pattern. The characteristics of the Najeon vase made by Bong-Ryong Kim are mostly the main pattern of peony arabesque pattern and the subordinate pattern of Yeouidu pattern on the shapes such as bottle and pot of the traditional format made of ceramics. And, the analysis shows that mostly the two materials of the main pattern and the four materials of the subordinate pattern are expressed on the works. The continuous pattern of the translation symmetry is mostly expressed by the unit pattern of the bilateral symmetry moved into the entire vase shape, and the patterns are mainly trimmed by Jurmgil(cutting) technique. Like this, the various formative characteristics show the functionality as the floral vase and his outstanding production tact and beauty of Bong-Ryong Kim’s Najoen wares.

목공예가 박성삼의 작품 문양 연구

임승택 ( Seung Taek Lim ) 한국화예디자인학회 2013 한국화예디자인학 연구 Vol.28 No.-

This study shows characteristics of the pattern style that Sung Sam Park used to enjoy and the basic data organization to be able to understand the form of the pattern changes after the late Joseon Dynasty era. By researching the pattern expressed in 52 works, made by wood crafter Sung Sam Park, who has made artwork since the modern times of Japanese colonial era and after Liberation In the expressed pattern used in the works of Sung Sam Park, oak leaf is the most used material, and the Four gracious Plants (plum, orchid, chrysanthemum and bamboo). The materials used are paulownia tree leaf, letters, grape, the ten traditional symbols of Longevity, grating, Mugunghwa, pomegranate. The patterned forms that Sung Sam Park used the most are inspired by the realistic form of natural subjects. The arrangements of pattern that he preferred are usually the bilateral symmetry of the symmetry forms. It is rare for him to use translation symmetry and radial symmetry forms, but in a few of his works this kind of symmetry can be seen. On all of Sung Sam Park`s work the relieve technique with embossment is used on the front of the articles of furniture as well as decorated.

나전장(螺鈿匠) 김봉룡의 작품 문양 연구

임승택 ( Seung Taek Lim ) 한국화예디자인학회 2013 한국화예디자인학 연구 Vol.29 No.-

This is the study of the patterns expressed in his Najeon ware (lacquer ware inlaid with the mother-of-pear) 130 pieces of Bong-Ryong Kim who worked as a Najeon Master and educator throughout Japanese colonial era and the modern times(to 1994) after Liberation. This study is based on organizing the basic data to understand the form of the pattern changes after the late Joseon Dynasty era and finding the characteristics of the pattern style that Bong-Ryong Kim used. A study of the pattern design on Bong-Ryong Kim`s Najeon ware is analyzed by the case study and the literature research based on type, style, arrangement, and technique. The main patterns presented in Bong-Ryong Kim`s work are peony arabesque and oriental phoenix, and the subordinate patterns are arabesque, Yeouidu, and peony arabesque pattern designs. As 114 out of his all 130 works show the patterns of flowers or plants, the closeness of the floral decoration and floral culture is confirmed. Most of the pattern styles that he used to use were conventional traditional patterns. In terms of the pattern arrangement, the continuous pattern is used more than the single pattern. In the continuous pattern, the bilateral symmetry and the radial symmetry are preferred. Some works, however, are used the translation symmetry. Especially, the representation method of the patterns is treated a lot by the Mojo(cutting and engraving) technique over the Jurmgil(cutting) technique, and some are treated by the Ggneumgil(knife-cutting) technique. These various features are well expressed in the entire surface of large furniture that has an effective decoration and the lids of the small craftworks. It reveals well the beauty of Bong-Ryong Kim`s lacquer ware inlaid with mother-of pearl.

vitakka(尋) 개념의 수행론적 의의에 대한 고찰

임승택(Lim Seung-Taek) 불교학연구회 2005 불교학연구 Vol.12 No.-

The usages of vitakka have both positive and negative aspects in Nik?yas. This concept, vitakka, contains our general thinking such as delusion, reasoning. Furthermore, it does not only cover the process of meditative practice but also the wisdom which comes from this meditative practice. In this paper, I say that we can understand the various examples of vitakka coherently when we focus on vac?sa?kh?ra, its linguistic function. Through the illumination of vitakka, I try to show an unique aspect of the buddhist practical theory. Vitakka always appears in the Nik?yas which is related with vipassan? practice. And it functions constantly in the first jh?na, that is, the lowest stage of samatha. Therefore we can say that the concept of vitakka becomes the basis of the theory that samatha and vipassan? can be practiced at the same time. As a result, I come to the conclusion that it is possible to insight the truth even in the lowest stage of samatha or the concentration.

무변압기형 인버터를 사용한 비접지 태양광시스템에서의 GPT 영향 분석 연구

임승택(Seung-Taek Lim),임용배(Young-Bae Lim),김동우(Dong-Woo Kim),이기연(Ki-Yeon Lee),채동주(Dong-Ju Chae),문재현(Jae-Hyeon Moon),임대식(Dae-Sik Lim) 대한전기학회 2020 대한전기학회 학술대회 논문집 Vol.2020 No.7

한국 칠화(漆畵)의 전통 형성과 특징 연구

임승택(Seung Taek Lim) 한국가구학회 2015 한국가구학회지 Vol.26 No.1

This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country’s national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.