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고정석,김창녕 慶熙大學校 大學院 院友會 1996 高凰論集 Vol.19 No.-
유한체적법(Finite Volume Method)을 이용하여 채널내의 충돌제트 냉각특성을 수치적 방법으로 해석하였다. 수치계산은 SIMPLE 알고리즘을 사용하였고, 대류항과 확산항의 처리는 멱승도식(Power-Law scheme)을 이용하였다. 저 Reynolds수 к-ε 난류모델을 이용하여, Reynolds수와 형상비의 변화에 따른 충돌제트의 냉각특성과 난류유동특성을 고찰하였다. 해석결과 충돌제트 냉각방식에서 Reynolds수의 상승은 냉각효과를 향상시켰으며, 같은 Reynolds수를 가질 때 분사입구와 충돌면의 거리가 가까울수록 냉각효과는 증대됨을 알 수 있었다.
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고정석 인제대학교 1996 仁濟論叢 Vol.12 No.2
The subject of Othello is the difficulty and importance of normal interpersonal relationships replete with affection in pursuit of one's identity through love and marriage. The love of Othello and Desdemona functions as the objective correlative of love as the spring of uniting all people in a society in that it goes beyond the difference of their social status, ages, cultural backgrounds and even races. On the other hand, Iago has mad hatred for all people and tries to destroy them, even himself, with every possible evil means. Iago doesn't know what love really is though he deceives himself into knowing how to love himself, so he is not so much hateful as inexpressibly pitiful. Othello is a kind of ancient mythic hero with adventurous spirits and Desdemona loves Othello only because he is that he is; although Iago is a very plausible liar but never a solid friend, Othello listens to him with a greedy ear, only to doubt her honesty and fall into the intrapersonal conflicts between his conscious identity and social identity. Consequently, Othello takes a moral stand, which leads to the destruction of both of them. Iago, by contrast, kills his wife who he does not love to shut her mouth at the instant of his exposure. Paradoxically, two willful murders of wives in this play are committed because each wife is literally honest. Othello is the tragedy of identity which shows clearly that the reestablishment of a lover's identity after marriage is closely and importantly related with one's great belief in oneself and trust in one's spouse.
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고정석 인제대학교 1994 仁濟論叢 Vol.10 No.1
Hamlet is a tragedy of being which reveals 'the illogical logic of life' very clearly by combining the conventional motifs of the revenue tragedy with several mythical motifs. It has a basic circular structure in that the change of guards in the opening scene parallels that of kings in the last scene, with the result that it effectively emphasizes the theme of identity, and the chief differences between the identity and social role as well as between positive self-assertive roleplaying and negative self-destructive roleplaying. Hamlet's plot can be summarized as the process of developing the guards' "our story" into Hamlet's "my story" through his "my mystery." The change of "We" into "I" implies that of the times in the real world and the play world. But that change is not so much the natural positive one as the artificial negative one brought by personal coveteousness. The new age simply deconstructs the existing basic human and social relationships which are vital for decent living and demands the establishing of new ones. The essential question raised by the play is whether the basic human relationship is the momentous force working society into its proper function or the social relationship makes us social beings. In other words, the play asks us to consider what kind of life we want to lead and how. Hamlet makes enormous efforts to be true to himself, but the world of Elsinore burdens him with the kind of life in which he cannot but betray himself. It is through his insistence on his 'conscious identity' and his peculiar way of behavior under the hostile circumstances that he in the long run establishes his 'social identity' and moreover verifies his 'real identity' even if momentarily. He sets the example for us that it is the individual will which determines the quality of his authentic life. Hamlet is one of Shakespeare's plays focusing on the primacy of personal insight without which there can be no authentic life.
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