國語 動詞 語尾의 英譯上 問題

尹孝允(Yun Hyo-yun) 새한영어영문학회 1975 새한영어영문학 Vol.3 No.-

매트릭스(matrix)형 냉간금형강의 기계적 특성에 미치는 NbC 탄화물 첨가의 영향

강전연 ( Jun Yun Kang ),김호영 ( Ho Young Kim ),손동민 ( Dong Min Son ),이재진 ( Jae Jin Lee ),윤효윤 ( Hyo Yun Yun ),이태호 ( Tae Ho Lee ),박성준 ( Seong Jun Park ),박순근 ( Soon Keun Park ) 한국열처리공학회 2015 熱處理工學會誌 Vol.28 No.5

Various amount of NbC carbide was intentionally formed in a matrix-type cold-work tool steel by controlled amount of Nb and C addition. And the effect of NbC addition on the mechanical properties was investigated. Four alloys with different Nb and C contents were cast by vacuum induction melting, then hot forging and spheroidizing annealing were conducted. The machinability of the annealed specimens was examined with 3 different cutting tools. And tensile tests at room temperature were conducted. After quenching and tempering, hardness and impact toughness were measured, while wear resistance was evaluated by disk-on-plate type wear test. The increasing amount of NbC addition resulted in degraded machinability with increased strength, whereas the absence of NbC also led to poor machinability due to high toughness. After quenching and tempering, the additional NbC improved wear resistance with increasing hardness, whereas it deteriorated impact toughness. Therefore, it could be found that a moderate addition of NbC was desirable for the balanced combination of mechanical properties. (Received July 23, 2015; Revised August 5, 2015; Accepted August 14, 2015)

고성능 냉간금형강의 미세조직과 기계적 특성: 레데부라이트(ledeburitic) 및 매트릭스(matrix)형 강종의 비교

강전연 ( Jun Yun Kang ),김호영 ( Ho Young Kim ),손동민 ( Dong Min Son ),이재진 ( Jae Jin Lee ),윤효윤 ( Hyo Yun Yun ),이태호 ( Tae Ho Lee ),박순근 ( Soon Keun Park ) 한국열처리공학회 2015 熱處理工學會誌 Vol.28 No.4

Two types of advanced cold-work tool steels were characterized and compared. A higher-alloyed ledeburitic steel with primary carbides (denoted as 9Cr) and a lower-alloyed steel without primary carbides (5Cr) were fabricated by vacuum induction melting and subsequent hot forging. They were spheroidizing-annealed at 870℃, quenched at 1030℃ and tempered at 180 or 520℃. Their machinability after annealing and hardness, impact toughness, wear resistance after tempering were compared and interpreted in association with their characteristic microstructures. After annealing, 5Cr showed higher resistance to machining due to higher ductility and toughness in spite of lower strength and smaller carbide volume. Owing to smaller carbide volume fraction and the absence of coarse primary carbides, 5Cr showed even better impact toughness although the hardness was lower. The improved toughness of 5Cr resulted in excellent wear resistance, while smaller volume fraction of retained austenite also contributed to it.

초고강도 소재가 적용된 U 형 채널 제품의 다단공정변수에 따른 스프링백 영향

서창희(Chang Hee Suh),정윤철(Yun-Chul Jung),임용희(Yong Hee Lim),윤효윤(Hyo Yun Yun),이경훈(Kyunghoon Lee),김영석(Young Suk Kim) 대한기계학회 2012 大韓機械學會論文集A Vol.36 No.3

자동차 부품의 경량화를 위해서 초고강도강의 사용이 확대됨에 따라 판재성형 공정에서 초고강도강판의 스프링백 제어의 중요성이 점차로 확대되고 있다. 본 연구에서는 초고강도 소재를 사용한 U 형 채널 부품의 성형을 위해서 사용되는 다단공정에서 공정 변수들이 스프링백에 미치는 영향에 대하여 검토하였다. 해석을 위해서는 유한요소법이 사용되었으며, 주요 공정 변수는 공정수, 금형 각도, 금형 반경, 펀치성형방향이다. 단공정에 비해서 다단공정이 스프링백을 아주 효과적으로 제어할 수 있었으며, 금형반경과 펀치성형방향의 각도가 작을수록 스프링백 제어에 효과적이었다. 그러나 금형 각도의 영향은 크지 않았다. Ultra-high-strength steels (UHSSs) are widely used for lightweight automobile parts, and the control of springback is very important in sheet-metal forming. The object of this study is to verify the effects of multi-stage forming process parameters for U-channel-type automobile parts made of UHSS. Finite element analysis is carried out to predict the formability and springback. The main parameters considered for the multi-stage forming process are the die angle, die radius, and punch-forming direction. It is shown that multi-stage forming is very effective for reducing springback, and that a small punch-forming angle and die radius reduce springback, whereas the die angle does not have a large effect.

문학작품의 구조층에 의한 Nabokov 소설의 연구방법

尹孝允 弘益大學校 1993 弘大論叢 Vol.25 No.1

Vladimir Nabokov's fiction is said to draw attention to its status as artifacts self-consciously and systematically. The self-reflective and playful quality of his novels may be explained in terms of 'ostranenie' (defamiliarization) and, later, foregrounding- the key concepts of the Russian formalist criticism and the Prague School of linguistics. In order to show how specifically this quality reveals itself it is necessary to employ the methodology based on Roman Ingarden's structural layers of the literary work. According to Ingarden a literary work of art has a stratified structure that includes not only such linguistic strata as those of sounds and meaning units but also such linguistic strata as those of "schematized aspects" and "represented objects." "Metaphysical qualities" may constitute a separate stratum. The stucture of Nabokov's fiction discloses its peculiarites according to the structural layers of sounds, of words used, and of narrative devices. The content and the meaning of his oevre may be considered so as to define the author's ultimate aesthetic stance towards his work.

Sons and Lovers의 비평적 수용

윤효윤 弘益大學校 東西文化硏究所 2001 東西文化硏究 Vol.9 No.-

It is interesting that the early reviews and interpretations of Sons and Lovers fully anticipated the diverse approaches to the work according to different schools of criticism in the 20th century. most of the early reviewers, suspecting the novel to be based on the writer's actual experiences, commented on the realistic rendering of the life in a mining village around the turn of the 20th-century Britain. The psychological approach, represented in this paper by A. Kuttner and F. Kermode, seeks to interpret the relation between the hero and the female characters in terms of Oedipus Complex as explained by Freud. Kermode, however, puts more emphasis on the aspect of a distinctive cultual event to explain the psychical disorder. Technique and artistry in a work of art are very important concepts to the formalist critics. While M. Schorer takes issue with a discrepancy in the themes and point-of-view in the novel, Julian Moynahan finds the three different formal orders enrich one another. The Marxist approach concentrates on the disturbing social truths of the author's time in his novel. According to Scott Sanders, however, Lawrence was unconscious of the impact of society on the individual. G. Holderness, interpreting this novel, emphasizes on the social, rather than the individual, experience as a source of value. Feminist criticism has been severe on Lawrence. Kate Millett was frankly political: she attacked Lawrence for representing male domination as an inevitable condition, while H. Simpson tried to be more objective in giving a historical contest to the author and feminism in his time. The critics of the last section doubt about the book's claim of realist objectivity. If L. Martz is interested in the way in which Miriam emerges from a narrative told primarily from the hero's point-of-view, Diane Bonds has more interest in interpreting the subtexts revealed through contradictions and evasion. They both show the poststructuralist concern with the instability of the language as attested in the recent Lawrence criticism.

블라디머 나보코프 소설의 설화 방식에 의한 전경화(前景化)

尹孝允 弘益大學校 人文科學硏究所 1998 人文科學 Vol.6 No.-

Vladimir Nabokov's novels are said to draw attention to their status as artifacts self-consciously and systematically. This is explained as the foregrounding on the linguistic dimension rather than on the referential dimension. The linguistic dimension may include the stratum of sounds in a literary work and that of meaning-units, that is, words in the text, as well as that of schematized aspects by which characters, actions and ideas in the novel reveal themselves. The paper concentrates on the schematized aspects of Nabokov's fiction, examining the foregrounding nature of the author's narrative devices. Parody is studied as the first of the narrative devices Nabokov uses to foreground the text on the narrative level. A repetition with difference to disturb the reader's perception of a given text, parody is an important concept in the contemporary self-conscious metafiction. It is noted that the author uses it not only on the level of outworn narrative techniques and themes but also on the level of literary genres and forms. The next section examines authorial intrusion as a device drawing attention to the novel as an artifact. The third section deals with the laying bare of narrative devices in connection with Nabokov's parenthetical method of description. The narrative techniques of skaz and retardation are also related to the concept of foregrounding in this section. The patterning of themes forms the last section of this paper. This is about the recurrences, correspondences and coincidences of various elements in his novels that make the reader conscious of the controlling hand. All these devices examined in the four sections help break the effect of fictional verisimilitude.

Lolita의 구조

尹孝允 弘益大學校 東西文化硏究所 1996 東西文化硏究 Vol.4 No.-

AbstractThe supreme degree of order and control in Vladimir Nabokov's writing does not allow Aoflf's to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of'ostranenie'(defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague school of linguistics.The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand.The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and (rom knowledge to being. The supreme degree of order and control in Vladimir Nabokov's writing does not allow Lolita to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of 'ostranenie' (defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague School of linguistics. The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand. The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and from knowledge to being.

버나드 맬라무드의 『두빈의 생애』 연구 : A Study of Bernard Malamud's Dubin's Lives 정체성의 추구를 중심으로

尹孝允 弘益大學校 東西文化硏究所 1998 東西文化硏究 Vol.6 No.-

Abstract The quest for identity is the theme of this novel about the Jewish-American biographer who examines minutely the lives of others. Although Jewishness is not an important factor, the Jewish elements are still related to this theme. For the hero comes to learn in the end to live the life of moral responsibility that encompasses the need of others, thus confirming the author's continuing concern about humanity. Possessing a number of selves, Dubin wants to embrace American ideals. His desire for an intimacy with nature is interpreted as the desire of constructing an American identity: Thoreau is the hero's mediated desire. Hard as he tries, however, he finds it difficult to acquire the self-reliant, spontaneous identity of the nature-lover who derives spiritual truth and renewal from his communion with the organic world. The biographer, while writing the life of D. H, Lawrence, tries to embrace different ideals of modem American mainstream ideology. He comes to know Fanny Bick, the hippie-styled girl embodying Dubin's desire according to Lawrence. The hero's meeting of Lawrence and Fanny represents 1970's sensibilities that emphasize the physical and feeling side of the modem man's identity. The Lawrentian persona as the young woman's lover, however, contrasts sharply with the personality of the English novelist and reveals the gap that separates the biographer's aspiration from the concealed Jewish identity. The novel is more the anatomy of a marriage than the story of a love affair as the relationship with Fanny causes him as much pain as pleasure. From the very beginning the biographer is torn between his self-glorification and his self-abasement. The ending affirms the hero's moral responsibility after the reconciliation of the different selves in him: Dubin no longer has the egoistical need to live more fully than the subjects of his biographies and acquires the courage to make difficult moral choices - between his wife, Kitty, and his lover, Fanny. It is true that the hero's psychic evolution is ambiguous because of the inconclusive ending. Dubin seems to enjoy the tension and the irresolution that comes from his mixed involvement with history and his immediate experiences. Still his quest for identity, ambivalent as it is, makes him especially complex, enigmatic and provocative among the Malamudian heroes.

나보코프의《창백한 불》연구 : 로티의 자유주의 아이러니스트 해석 Richard Rorty's Liberal Ironist Interpretation

윤효윤 弘益大學校 人文科學硏究所 2004 人文科學 Vol.12 No.-

Criticized for the formal qualities in place of the moral content in his novels, Nabokov once said that a reappraiser would declare that he was a rigid moralist. Indeed in 1989 with his celebrated book on the Liberal Ironist, Richard Rorty came and declared Nabokov's novels to be more effective in producing better citizens for a democratic society than moral treatises, narrative media being the most useful vehicles of moral education at present. Following Judith Shklar's definition of a liberal, Rorty argues the suggestion "as little cruelty as possible" is simply a good basis for a modem society. Nabokov is then recognized as a liberal because he speaks out against cruelty. In interpreting Pale Fire Rorty writes the lake where the rejected Hazel drowns herself, rather than the fantastical mountains the King crosses in to exile, is "the central topographical center" of the novel. By this, he says, Nabokov asserts that the reader's sympathy should be with the sufferers rather than with charmers like Kinbote, as the novelist's own pursuit of private perfection does not necessarily lead to tenderness in human relation. This is Rorty reading Nabokov against Nabokov, mediated by pragmatism. He argues the relation between Kinbote and Shade is not simply oppositional but dialectical; Nabokov was interested in making himself and his readers better by increasing the intensity of the dialectical exchanges between two sides of his and our natures-the side that exults in beauty and in the fantasies to which beauty gives rise, and the side that is ravaged by the suffering of the helpless. Rorty may be interpreted as coming to respond to what Kinbote says towards the end of the novel about turning up yet on other campus. It is then possible that Rorty as Kinbote returned was created as an dead-end designed to thwart future critics reading the author into the book. Rorty's criticism of 'aesthetic bliss' may as well be interpreted other than the author's personal myth, as art gives the reader directly, not after the programmed lapses, the moments of moral effect by the education of the senses in sharpening the sensibilities and promoting the self-inspection of others.