Oxidation of TiAlSiN Nano-multilayered Films between 800 and 900 ℃ in Air

Sang Hwan Bak,Yeon Sang Hwang,Dong Bok Lee 한국표면공학회 2013 한국표면공학회 학술발표회 초록집 Vol.2013 No.11

Tradition and Modernism Seen as Cultural Memory

( Bak Sang Hwan ) 성균관대학교 유교문화연구소 2010 儒敎文化硏究(中文版) Vol.0 No.13

文化在個人和集團的關系中具有實質性的意義。文化以記憶爲媒介, 幷通過記憶來傳承。記憶從根本上來說是在與他人的關系, 卽在社會化的過程中成立的。由此看來, 文化是以記憶爲中心而成立幷超越個人的記憶作用成爲集團的記憶和社會的記憶, 我們稱之爲“文化的記憶”。作爲構成過去的記憶的主體, 雖然起源于自我但是幷不局限于自我而是作用在自我所屬的集團。記憶幷不能勾完全保留過去的體驗, 而是通過特定的再現方式, 換言之, 就是通過一定的人爲構成工作而形成。記憶可以通過人爲的方式制作。引用Hobsbawm 的觀点就是:所謂傳統, 就是通過近代文明化的過程人造的。 文化的收容性是在與他者的關系中出發的。東亞三國對他人的文明所采取的近代化戰略――“中體西用”、“和魂洋才”、“東道西器”, 都是爲了收容西方發達的物質文明而采取的方略。這可以稱之爲19 世紀文化提起中强調將東方的精神道德和西方的物質文明分離開的文化本質主義歷史意識。這種思維方式在當今21 世紀的韓國社會中依然具有支配性。以傳統的名義拒絶近現代, 同時以近現代的名義批判傳統。換言之, 這種全面肯定又全面否定的二元對立的近現代觀点是我們的現實。對傳統文化的硏究有必要從對近現代性的省察中開始。 Culture has the real meaning when grasped in the relationship between individual and group. Culture takes memory as intermediary and transferred with recorded memory. Memory is basically concluded in the relationship with other people, socializing process. In this standpoint, culture centered around memory as well as acts as group's memory and social memory beyond individual memory. We call this 'cultural memory'. Although the subject of memory which is the process re-constructing the past is individual, it is finally applied to group including individual, not individual. Memory cannot be reflected past experiences, as them are. And it is filtered by the certain reenacting method, the proper artificial composition work. Memory can be made artificially. As the Hobsbawm's saying, 'tradition' is also 'made' through cultivating process in modern times. Cultural accepting starts in the relationship with other people. 中体西用, 和魂洋才 and 东道西器 which are not only the encounter with other people but also modernization strategy of three countries in East Asia are policies for accepting Western developed capitalistic material civilization. This contradictory suggestion of 19C problem can be seen by the sense of cultural essentialism history emphasizing the division of Eastern spirit morality and Western materials. Such ideas are still dominant in 21C Korean society. Modernism(contemporary) is rejected under the name of tradition and tradition is criticized under the name of modernism. In other words, both overall affirmation and overall negation are done at the same time. It's called by dualconflict modernity discourse which is our real situation. Therefore, the study related with culture has to be started in introspection for modernity. [Article in Chinese]

Corrosion of Inconel 713 Alloy in an Ar-1% SO2 Atmosphere between 800 and 1100℃

( Sang Hwan Bak ),( Dong Bok Lee ) 대한금속재료학회(구 대한금속학회) 2013 대한금속·재료학회지 Vol.51 No.7

The Ni-based superalloy, Inconel 713, was corroded between 800 and 1100℃ for up to 100 h in an Ar-1% SO2 atmosphere. It displayed good corrosion resistance, because the corrosion progressed mainly via oxidation rather than sulfidation. The corrosion products were α-Al2O3, Cr2O3, TiO2, NiO, NiAl2O4, and NiCr2O4. Sulfur was sometimes weakly segregated around the scale-alloy interface. Preferential oxidation occurred along the grain boundaries of the matrix. Except in these areas, uniform oxidation occurred, forming thin scales. The formed scales were prone to spallation.

The Vision of Cultural Studies in the 21 Century and Communication of Humanities

( Bak Sang Hwan ) 성균관대학교 유교문화연구소 2011 儒敎文化硏究(中文版) Vol.0 No.15

20 世紀后半期, 探索劇變的韓國社會要求的學問的新方向是緊迫的課題。傳統意義的人文基礎學問在制度敎育體系中受到了深刻的挑戰。90 年代之后, 隨着虛擬數字文化的擴散, 大衆文化的解釋與以前大不相同。所謂的高級文化與大衆文化的對立區別開始被理解爲无相關。恐怕, 后現代主義(postmodernism)在這種現象的擴散中做出了很重要的作用。另一方面, 可以把民衆文化的急劇衰退看成是因80 年代之后的政治對立構造與意識形態的一定部分被緩解而對文化性的反映。90 年代變革運動出現低潮, 新自由主義社會中的藝術與文化合成爲文化産業。强調文化收容性方面的文化話語中, 要補充生産文化的過程中呈現出的政治經濟方面全盤的分析作業, 卽文化的生産樣式以及與社會的相關性。這種討論圍繞着文化硏究, 已經進行了十多年。對藝術與學問的批判性的反省在文化硏究的領域里進行的非常活躍。同時, 在韓國社會有支配力的西歐式的中心模式在東方主義的視角中受到批判, 而且對學問與文化本體性的追求不僅是學術界的爭議点, 而成了全社會性的爭議点。對現代性(Modernity)的理論性、實踐性的醒悟, 引起對韓國近現代歷史(歷史淸算問題)的社會全盤性的反省, 特別是對過去日帝國主義殖民地的統治進行非常激烈的論爭。近代化的反省是以“脫殖民主義”的解釋與文化本體性進行討論爲基礎的。 20 世紀80 年代之后, 社會轉換到新自由主義的方向。對社會上不可應用的基礎學問來說, 其存在就是可疑的。大學敎育的體制轉換以學府制的采用爲中心進行, 一些新開的專業聯系文化創意産業硏究新領域來尋找出路。在韓國觸發文化硏究的環境可以列擧人文學的危机、先進社會科學話語的后退以及大衆文化的性格變化等。就是在這一点上, 我們的議論可以集中. 在本論文中把哲學與藝術學的符合, 試圖在文化的 觀点上, 批判人文學的傳統性精神主義方面幷把方向轉換至可以呼應于日常人的較低的地方, 有必要适應時代的潮流。這不僅屬于哲學, 也屬于主張制度敎育內排他性位置的藝術全盤。這是因爲學問、藝術與一般大衆的相互有關性意識溝通要發展的更密切。不是要拒絶消費社會要求的文化産業, 這需要文化政策的方向硏究和文化內在的哲學性文化話語。文化的社會效應性和學問發展的相關硏究給21 世紀的文化發展打下了基礎。 The scientific paradigm of Korean society has shifted rapidly with the spread of cyber digital culture since the 21st century began. Namely, the diffusion of postmodernism and the advent of liberalism and the decline of transformation movement demolished the conventional methods of classifying cultures and the basic humanities and humanism have been endangered, and a new term of cultural industry made an appearance in concert with restructuring of universities. If we say that popular culture and the humanities are positioned in the dialectical relationship and that mutual communication is a prerequisite for the development of scholarship and culture, the current situations are very alarming. Under these conditions, the present paper makes an attempt of communication between philosophy and arts from the perspective of 'culture'. It tries to restore mutually relational communication between sciences, arts and the general public by criticizing traditional ideal aspects of the humanities and changing direction towards 'lower places' to appeal to ordinary people. This means it aims to objectively examine philosophical discourse inherent in culture and direction of cultural policies at the level of sciences and the general public rather than to unconditionally refuse cultural industry which is required in consumer society. Therefore, the current study will critically explore transformative processes Korean society went through until now and features of cultural change based on conceptual review of ‘culture’, and analyze a traditional ideal view of the humane studies towards sciences, limitations of scientific disciplines, elitism inherent in studies of arts within institutional education systems, and subsequent communication gap between sciences, arts and society and an issue of a crisis of sciences in themselves. In addition, it aims to examine social efficacy of culture and its correlation with scientific development and seek the way where sciences and arts coexist through discussing scientific problems and direction faced by Korean society currently, and scientific and artistic activities which have been displayed newly since the 1990s. [Article in Chinese]

근대화과정의 “합리주의” 이해에 대한 비교철학적 고찰 -동아시아의 오리엔탈리즘적 관점 분석-

박상환 ( Sang Hwan Bak ) 한국동서철학회 2010 동서철학연구 Vol.58 No.-

이 글은 ‘근대성’에 대한 동아시아적 수용의 문제를 성찰하는 논문이다. 현재 문화담론에서 영향력이 있는 헌팅턴식 문화본질주의적 수용을 상호문화철학(intercultural philosophy) 관점에서 비판하며, 동시에 ‘우리 안의 오리엔탈리즘’적 경향에 대한 비판적 성찰이 이 논문의 기본적 문제의식이다. 문화교류 과정에서 필연적으로 문제가 되는 타자성의 인식은 곧 자기 문화정체성의 문제를 수반한다. 타자의 선진문화를 수용할 때 자기문화의 부정단계는 곧바로 자기문화의 정신적 보편성을 강조하는 단계와 중첩된다. 여기에서 요청되는 성찰은 미래지향적 역사의식과 보편타당한 열린 시각이다. 이 논문에서 구체적으로 비교 분석하는 범주는 합리성에 내재한 형식주의이다. 근대화가 유발한 근대성은 M. Weber식 표현을 빌자면 합리성이겠고, 그 특징을 예측가능성과 형식화 그리고 세속화 경향이라고 요약할 수 있다면 그러한 ‘서구적’ 근대성을 동양의 전통적 사유와 그의 사회화 현상과 연관된 다각적 비교분석이 필요하다. 이 관계는 동양사상과 서양사상이 문화본질주의적 대립이 아니라 상호소통이 가능한 다원적 가치관을 지향한다. This paper is an thesis of reflecting on the issue of East Asian acceptance of `modernity.` The basic critical attitudes of this paper are to criticize the acceptance of Huntington-style cultural essentialism which is influential in the current cultural discourse from the perspective of intercultural philosophy, and at the same time, to critically reflect on the tendency of `Orientalism inside of us.` The recognition of otherness which becomes problematic inevitably in the process of cultural exchange is always accompanied by an issue of self-culture identity. The denial stage of self-culture when accepting advanced culture of others is always overlapped with the stage of stressing mental universalism of self-culture. The contemplation required here is future-oriented historical consciousness and universal open-mindedness. The category to be comparatively analyzed concretely in this paper is formalism inherent in rationalism. Modernity which was caused by modernization corresponds to rationality to borrow M. Weber`s expression, and if we can summarize its characteristics as predictability, formalization and secularization tendencies, it is necessary to make a multiple comparative analysis associated Oriental traditional thoughts and their socialization phenomena in relation to such `Western modernity. The relationship aims for pluralistic values with which Oriental and Western thoughts can communicate with each other rather than the confrontation based on cultural essentialism.

일상적 문화의 기억과 역사 성찰

박상환 ( Sang Hwan Bak ) 성균관대학교 인문과학연구소 2009 人文科學 Vol.0 No.43

인문학의 "위기"와 문화연구를 위한 시론 -분과학문의 배타성을 넘어 공존의 학문으로-

박상환 ( Sang Hwan Bak ) 성균관대학교 대동문화연구원 2007 大東文化硏究 Vol.57 No.-

P122강 용접부의 대기중 고온산화 부식속도와 스케일 분석

박상환 ( Sang Hwan Bak ),이동복 ( Dong Bok Lee ) 대한금속재료학회(구 대한금속학회) 2011 대한금속·재료학회지 Vol.49 No.9

P122 steel, with a composition of Fe-10.57%Cr-1.79%W-0.96Cu-0.59Mn was arc-welded and oxidized between 600℃ and 800℃ in air for up to 6 months. The oxidation rates increased in the order of the base metal, weld metal, and heat-affected zone (HAZ), depending on the microstructure. The scale morphologies of the base metal, weld metal, and HAZ were similar because it was determined mainly by the alloy chemistry. The scale consisted primarily of a thin Fe2O3 layer at 600℃ and 700℃ and an outer Fe2O3 layer and an inner (Fe2O3, FeCr2O4)-mixed layer at 800℃. The microstructural changes resulting from heating between 600℃ and 800℃ coarsened the carbide precipitates, secondary Laves phases, and subgrain boundaries in the matrix, resulting in softening of the base metal, weld metal, and HAZ.

문화기억의 철학적 성찰과 문화콘텐츠 연구 -한국 근대의 시간과 공간을 중심으로-

박상환 ( Sang Hwan Bak ),김희 ( Hee Kim ) 성균관대학교 인문과학연구소 2010 人文科學 Vol.0 No.45

근대 서양의 중국 이해에 대한 문화사적 배경 고찰 : 비교철학자 라이프니츠를 중심으로(1)

박상환 ( Sang Hwan Bak ) 東洋哲學硏究會 2007 東洋哲學硏究 Vol.49 No.-

자연 세계와 인간 세계의 관계를 포함하여 ``자연``이 과연 무엇인가를 묻는 질문은 철학의 기본적인 질문 중의 하나이다. 이 물음을 출발점으로 삼게 되면, 서양 철학과 동양 철학이 만나는 흥미로운 지점을 발견하게 된다. 예컨대 동서비교철학자의 시조라고 할 수 있는 라이프니츠(G. W. Leibniz, 1646-1716)의 자연관과 중국의 신유가사상의 자연관에서 우리는 사유형태상 일종의 유사성을 발견한다. 이는 중국 철학에 관해 라이프니츠가 1715/16년경에 쓴 중국철학에 관한 글에 분명하게 드러난다. 그의 철학에서 인간은 자연 속에, 그리고 자연은 인간 속에 자신을 반영 한다. J.니덤은 중국의 자연관을 서양의 철학사조와 비교하면서 최초로 ``유기체철학``이라는 관점에서 고찰하였다. 자연과 우주, 그리고 인간사회를 하나의 총체적인 의미연관 속에서 규명하려는 인간의 지적 기획을 지칭하는 ``유기체철학``은 본질상 타자와의 공존이라는 사회적 실천의식과 결부되어 철학사에 등장하는 사유형태이자 가치관이다. 서양근대 사상가 중에서 특히 라이프니츠는 평생 ``중국``과 대면하는데 이 글에서는 라이프니츠가 중국을 만나는 사회적 그리고 문화적 배경을 주로 고찰한다. 본 연구는 2부로 계획되는데, 이후의 논문에서는 라이프니츠와 중국사상을 중요 자연관 개념을 중심으로 ``유기체철학``의 유사성과 차이점을 비교·고찰할 예정이다. Die vorliegende Arbeit ist ein philosophischer Beitrag zur vergleichenden Darstellung und Analyse der chinesischen Philosophie im Zusammenhang mit dem China-Bild von G.W.Leibniz(1646-1716). Als Rahmen der Arbeit soll das Interesse an der Auffassung der ``Natur`` gelten, welche die Frage nach dem Verhaeltnis der Naturwelt zu der menschlichen Welt miteinbeziehen. In Beantwortung dieser Frage, einer der Grundfragen der Philosophie, tritt ein interessanter Beruehrungspunkt der westlichen Philosophiegeschichte mit der oestlichen auf, naemlich die Aehlichkeit des Leibniz`schen Konzepts der Naturauffassung mit dem des Neokonfuzianismus. Dieser wird deutlich in der Leibniz`schen Abhandlung ueber die chinesische Philosophie um die Jahreswende 1715-16. Ein Philosophie, in der der Mensch sich in der Natur, die Natur sich im Menschen widerspiegeltein Art der "Dialektik" im F. Engelschen Sinne, die anderthalb Jahrhundert spaeter in seiner ``Dialektik der Natur`` entwickelt-versuchen wir hier als eine "Organische Philosophie" auszudruecken.