충남대학교병원에서 분리된 병원성 세균의 항생제 감수성 검사에 관한 고찰

양석환,김덕배 대한임상병리사협회 2001 대한임상병리사회지 Vol.21 No.1

ESPI法을 利用한 點 熔接部의 面內變位 測定에 關한 硏究

차용훈,김덕중,이연신,채경수,성백섭 조선대학교 생산기술연구소 1997 生産技術硏究 Vol.19 No.1

Electronic Speckle Pattern Interferometry(ESPI) using the Model 95 Ar laser, a video system and an Image processor was applied to the in-plane displacement measurements. Unlike traditional strain gauges or Moire method, ESPI method requires no special surface preparation or attachments and can be measured in-plane displacement with no contact and real time. In this experiment specimen was loaded in parallel with a loadcell. The specimen was the cold rolled steel sheet of 2mm thickness. which was attached strain gauges. The study provides an example of how ESPI have been used to measure strain displacement in this specimen. The results measured by ESPI compare with the data which was measured by strain gauge method in tensile testing.

슬래그 골재를 사용한 투수성 콘크리트의 물리적 성질

이용구,김희덕,성휘정,최재진 호서대학교 반도체제조장비국산화연구센터 2001 반도체장비학술심포지움 Vol.2001 No.-

본 연구는 제철소에서 부산물로 생성되는 고로슬래그 및 제강슬래그를 골재의 일부로 대체 사용하고 고성능AE감수제를 적정량 사용하여 고품질의 투수성 콘크리트를 제조하는 것에 관한 것이다.실험결과 고성능AE감수제와 슬래그를 사용하는 경우 투수계수 0.1 ㎝/sec 이상을 유지하는 상태에서 재령 28일의 압축강도 240 ㎏f/㎠ 정도까지의 비교적 높은 강도의 투수성 콘크리트를 경제적으로 제조할 수 있음이 확인되었다.

Photo Stress를 이용한 압력용기 용접부의 잔류응력 측정

차용훈,김덕중,장훈 朝鮮大學校 機械技術硏究所 2004 機械技術硏究 Vol.7 No.1

Recently, studies on the deformation and residual stresses measurement in pressure vessel welded zone have been obtained from strain gaging method which had directly attached the gage on the surface of the material. But the non-contact method are not still general. In this paper, we will study effect on residual stress at the pressure vessel welded zone under the high pressure. The strain and residual stresses are measured by the photo-stress and hole drilling method. The material of Butt weld specimens are A516 GR70 steel for pressure vessel.

신경회로망을 이용한 용접잔류응력 예측 및 최적의 용접조건 선정에 관한 연구

차용훈,김하식,이연신,김덕중,성백섭 朝鮮大學校 機械技術硏究所 2000 機械技術硏究 Vol.3 No.1

The objective of the study is the development of the system for effective prediction of residual stresses using the back propagation algorithm from the neural network. The achieve of this goal, the series experiment were carried out and measured the residual stresses using sectional method. Using the experimental results, the optional control algorithms using a neural network should be developed in order to reduce than the effect of the external distribution during GMA welding processes. Also, comparison with the measured and the calculated results from the FEM(finite element method) and verification of the developed system was carried out. This system can not only help to understand the interaction between the process parameters and residual stress, but also, improve the quantity control for welded structures. Then the results obtained from this study are as follows. Through comparison between the measured and calculated results, the neural network based on back propagation algorithm is the best techniques to predict the process parameter. A new techniques which predict the process parameter such as welding voltage, arc current, welding speed using the training the raw dates, will be proposed.

黃眞伊時調論

金容德 漢陽大學校 人文科學大學 1982 人文論叢 Vol.4 No.-

셰익스피어 사극의 제 2 사부작 연구 : Thematic Structure를 중심으로

金容德 東亞大學校 1983 東亞論叢 Vol.20 No.1

My purpose in this paper is to study the thematic structure of Shakespeare's second tetralogy by a close examination of each play, on the assumption that the term 'structure' includes both content and form. This dissertation begins with a presentation of Machiavellism as the ideological background of the kings and the politicians in the second tetralogy. Historical critics propose, based on the Elizabethan World Order, that these plays are primarily moralistic tracts in dramatic format in consonance with conventional Tudor attitudes and Machiavelli argues that the exercise of power is independent not only of theology but of morality as well. As against these views, I argue that the plays themselves do not conform to such interpretations but, in fact, often contradict them. I then proceed to a detailed examination of the plays, and this examination will show that far from reflecting any political ideology or any partisan moral outlook the plays are committed to dealing with the moral effect the exercise of power has upon the individual man wields it and upon his people. In Richard Ⅱ, "the chiasmic structure of the drama on the thematic axis of power reflects the nature of politics and Shakespeare's theme, "and allows us to see Richard in dual roles: as both power's wielder and power's victim. Superficially the plot of the personal conflict between Richard and Bolingbroke seems to dominate the play, but in fact RichardⅡ is constructed so that Richard, in dual roles, is the focus of our interest. In the process of Richard's rise and fall, the theme of human motivation represented by the imagery of 'two buckets" is prominent rather than that of Providence or Fortune. Richard's downfall is not due to his poetic disposition or his over-dependence on divine kingship, but rather to his own maladministration and Bolingbroke's ambition. After his return from Ireland our interest is his reaction to the changed political situation, not his ability as a ruler. Within that structure Shakespeare directs our responses and his answer to power is poetry of truth. Indeed, the poetry is always directed against whoever is in power, whether it is Richard or Bolingbroke. Thus in the first section of the play, when Richard is still secure as King and using his power for cruel and violent ends, the poetic voices cry out against him through the laments of the Duchess of Gloucester, Mowbray's deeply felt emotion against Richard's cruel banishment, Gaunt's great and moving paean to England, York's violent protest against Richard's disinheritance of Bolingbroke, and the three nobles' complaints before their desertion. The most effective voice, however, is Richard's after he has fallen from power. Our sympathy for Richard is effected not only through Carlisle's protest and prophesy, the Queen's laments and plea, the simple groom's affection for Richard and the Yorks' conflict, but chiefly through Richard's self-dramatized poetry. As he becomes victimized by Bolingbroke's ambition, his character grows more human, more pitiable, until finally we sympathize with him out of our increasing sense of the brutality and callousness of power. The action of HenryⅣ alternates between two morally distinct but dramatically coexistent worlds, the world of the court and the world of the tavern. The world of the court includes not only the King and his allies but the rebels as well. The world of the tavern revolves around Falstaff and is peopled with an amazing array of his satellites who reflect his comic glory. One of Falstaff's functions is to clarify the relationship between appearance and reality. He divests things of their ideological masks. He acts as a comic regent on honor, truth and all the ideals of the world of the court which often serve as delusions covering criminal motives and acts. Falstaff, operating on a comic as well as satiric level, is Shakespeare's imaginative response to the abuse of power. Through Falstaff we come to see how flawed (even how evil) the public world is. Prince Hal's oscillation between the two worlds provides the main narrative link, but the unity of the play depends rather on the way that Shakespeare has juxtaposed the scenes of the tavern with those of the court, so that the political machinations of Henry's reign are satirically reflected in the mirror of the Falstaffian comic world. Throughout part Ⅰand partⅡ, the theme of Henry's Machiavellism and Prince Hal's wilier Machiavellism through his roleplaying is predominant. There is no "education" theme on the part of Prince Hal, but he is a cunning Machiavellian from his first appearance on the stage as demonstrated in his first soliloquy. Falstaff serves to expose, through his comic perspective, the emptiness and deceit of politics undermining and subverting the false values and pretensions of the court. In this sense, Hal's rejection of Falstaff reflects power's preference for the barren cruelty that underlies the Realpolitik of Henry Ⅳ and Henry Ⅴ. Henry Ⅳ is a "dramatic objectification of the conflict between what Freud called the reality-principle of Prince Hal and the pleasure-principle of Falstaff." Even in Henry Ⅴ, the alternation of history and comedy seeks to satirize the political world by the ironic reflection of the policies of the court in the mirror of the Tavern. In Henry Ⅴ Shakespeare's manipulation of a double perspective is most apparent in the person of Henry and in our reaction to him. Just as he was in Henry Ⅳ, Henry is a cold-hearted hypocrite who glosses over his political realism with a veneer of majesty. From the first mention of a foreign war in Henry Ⅳ to the Chorus' final reminder of its ultimate futility, Shakespeare undermines the French campaign with corrosive irony. It is evident that, whatever Shakespeare may say about Henry, in his heart he regarded him as a murderer. Faced with the demand to depict such a man as a hero, he took refuge in the irony which permeates the whole play, and constantly juxtaposed the fine talk of honour and religion with the realities of human greed and cruelty. Shakespeare's final view of Henry is much like Marlowe's of Tamburlaine. Shakespeare's Henry is a consummate power politician, the truest, most accomplished Machiavelian he created. What is lacking in Henry Ⅴ is a striking personality in whom the irony of the play could be focused, a satiric voice to counter with dramatic effectiveness the King's specious rhetoric. There is no question that Machiavellism is the choice the makers of history have made; but there is also no question what this choice has made of history. The dilemma between the two antithetical forces-humanity and power-forms the tension of Shakespeare's history plays. The theme of the second tetralogy is the morally corruptive influence of power, the cruelty and deceit that inevitably infect those who wear the crown. This is the Machiavellian divorce of public from private morality which manifests itself in Richard's and the Lancastrian King's constant concern with their public image. But Shakespeare particularly emphasizes the moral effect of the Machiavellian Realpolitik. This theme has been worked out in each play by the structure of offering a countervailing value to the inhumanity arising from the exercise of power. Irreconcilable as the antinomies of humanity and power are, Shakespeare chooses humanity. We are always reminded of Richard's poetry of agony in Henry Ⅱ, Falstaff's wit and humor rather than Prince Hal's successful career in Henry Ⅳ, the humane voices of Falstaff's friends, and Williams in Henry Ⅴ. In the process of the development of theme, human motivation is more stressed than either Providence or Fortune, and the conflict in personalities and the values they represent is embodied within the plays, providing their unity.

Henvy IV(I,Ⅱ)의 통일성 문제

金容德 동아대학교 인문과학대학 영어영문학과 1990 동아영어영문학 Vol.6 No.-

My purpose in this paper is to study the problem of unity in Henry Ⅳ(Ⅰ, Ⅱ) by a close examination of each play. The action of Henry Ⅳ alternates between two morally distinct but dramatically coexistent worlds, the world of the court and the world of the tavern. The world of the court includes not only the King and his allies but the rebels as well. The world of the tavern revolves around Falstaff and is peopled with an amazing array of his satellites who reflect his comic glory. One of Falstaff's functions is to clarify the relationship between appearance and reality. He divests filings of their ideological masks. He acts as a comic regent on honor, truth and all the ideals of the world of the court which often serve as delusions covering criminal motives and acts. Falstaff, operating on a comic as well as satiric level, is Shakespeare's imaginative response to the abuse of power. Through Falstaff we come to see how flawed the public world is. Prince Hal's oscillation between the two worlds provides the main narrative link, but the unity of the play depends rather on the way that Shakespeare has juxtaposed the scenes of the tavern with those of the court, so that the political machinations of Henry's reign are satirically reflected in the mirror of the Falstaffian comic world. Throughout part Ⅰ and part Ⅱ, the theme of Henry's Machiavellism and Prince Hal's wilier Machiavellism through his role playing is predominant. There is no "education" theme on the part of Prince Hal, but he is a cunning Machiavellian from his first appearance on the stage as demonstrated in his first soliloquy. Falstaff serves to expose, through his comic perspective, the emptiness and deceit of politics undermining and subverting the false values and pretensions of the court. In this sense, al's rejection of Falstaff reflects power's preference for the barren cruelty that underlies the Realpolitik of Henry Ⅳ and Henry Ⅴ. Henry Ⅳ is a "dramatic objectification of the conflict between what Freud called the reality-principle of Prirnce Hal and the pleasure principle of Falstaff." The theme of Henry Ⅳ(Ⅰ, Ⅱ) is the morally corruptive influence of power, the cruelty and deceit that inevitably infect those who wear the crown. This is the Machiavellian divorce of public from private morality which manifests itself in the Lancastrian leaders' constant concern with their public image. But Shakespeare particularly emphasizes the moral effect of the Machiavellian Realpolitik. This theme has been worked out in each play by the strucrue of offering a cuntervailing value to the inhumarlity arising from the exercise of power. In the process of the development of theme, human motivation is more stressed than either Providence or Fortune, and the conflict in personalities and the values they represent is embodied within the plays, providing their unity.

韓·日 兩國의 가족내 호칭에 관한 硏究

李庸悳 啓明大學校 國際學硏究所 日本硏究室 1999 日本學誌 Vol.19 No.-

Box Girder 해석 프로그램의 개발

조용덕,이용재 건국대학교 산업기술연구원 1995 건국기술연구논문지 Vol.20 No.-

박스 거더는 현수교나 사장교와 같은 교량의 건설에 많이 사용되고 있다. 박스 거더의 거동은 Bending, Shear, Warping torsion, Distortion으로 이루어진다. 박스 거더 거동의 해석이 일반적인 거더의 해석보다 난이해서, 이를 쉽게 해석할 수 있는 컴퓨터 프로그램의 도입이 필요하게 되었다. 프로그램을 계속 발전시킬 수 있도록 박스 거더의 기본이론을 정리하고, 3절점 1요소의 박스 거더 기본모델을 가지고 유한요소법으로 강성 매트릭스를 구축하여, 박스 거더 거동해석 컴퓨터 프로그램을 만들었다. 프로그램의 검증을 위해 타논문의 모델을 이용하여 예제 분석을 실시하였고, 정확한 결과값을 얻을 수 있었다. Thin walled box girders are widely used in modern bridge construction such as suspension and cable-stsyed bridges. This walled beam theory including warping torsion, distortion and shear effect, is combined with finite element method. Three node beam element which has nine degree of freedom in each node is incorporated into computer program. Example box girders are analyzed by this program.