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스탈링 알덴 제주대학교 동아시아연구소 2001 東아시아硏究論叢 Vol.12 No.-
9월 11일의 야만적인 공격에 미군이 반응하기도 전에 군사작전 가능성에 대한 비판의 목소리가 들리기 시작했습니다. 우리는 일시적인 감정에 휘둘리지 않고 테러리즘의 소위 "근본원인"이 무엇인지 생각해봐야 한다는 충고를 받았습니다. 테러의 원인을 미국이 제공했다는 것이었습니다. 혹은, 군사작전과 같은 무례한 조치를 취하기 전에 우리의 과거 정책을 재검토하고 자아성찰의 시간을 갖는다든가, 또는 전세계의 빈곤과 불평등 문제를 먼저 해결해야 한다는 것이었습니다.
Fatigue Evaluations of Variable Message Sign Structures Based on AASHTO Specifications
Jong Sup Park,J. Michael Stallings 대한토목학회 2006 KSCE journal of civil engineering Vol.10 No.3
Variable Message Signs (VMS) have become a new trend in roadway signs. These signs offer an increase in traffic safety by their ability to relay messages to motorists for warnings of hazards ahead such as fog, traffic congestion, accidents, and lane closings. The geometry of these signs sometimes results in significant cyclic loading of the support structure due to wind gusts. This study presents analytical and experimental investigations of bridge-type VMS structures. GTSTRUDL (2003) is used to perform space frame structural analyses of these welded tubular structures. This paper includes measurements from a static filed test and comparisons between the measurements and the structural analyses results. Fatigue evaluations are performed based on the stress ranges from field measurements and structural analyses. According to this comparative study, the fatigue design loadings derived from AASHTO Specifications for Structural Supports for Highway Signs, Luminaires and Traffic Signals (2001) can be conservatively used to evaluate the fatigue life of the bridge-type VMS structures.
Green marketing of apparel: consumers’ price sensitivity to environmental marketing claims
Celia Stall-Meadows,Anne Davey 한국마케팅과학회 2013 Journal of Global Fashion Marketing Vol.4 No.1
Green or environmentalmarketing claims have increased in recent years because of potentiallyhigher profits for companies. The aimof this study was to identify the environmentalmarketing claims forwhich consumers arewilling to pay higher prices. The specific claimsinvestigated in this study were: using organic fibers or recycled textile fibers; sustainablemanufacturing; companies donating to green organizations; and using fair trade and laborpractices. A quantitative survey of college students in the Midwestern US revealed that acompany’s environmental marketing claims – particularly with regard to manufacturingwith organic fibers and donating to green organizations – resulted in decreased consumerprice sensitivity. The theory of reasoned action served as the framework for the study. Implications, limitations, and suggestions for further research are presented.
Arctic Exposure: LOVELAND's Sublime Simulation of an Endless Apocalypse
Bishop-Stall, Reilley The Korean Society of Art Theories 2012 미술이론과 현장 Vol.13 No.-
Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.