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르네상스 선원근법과 근대적 주체 : 선원근법에 기반한 근대적 시각 주체의 기원에 관한 문제
오성철 고려대학교 2004 虎院論集 Vol.12 No.-
The aim of this thesis is to review the discourse surrounding the modern subject in vision, and, based on Renaissance linear perspective, to treat the problem of how to define the "dominant visual regime" and its origins and causes. My central concern is to discover how one might explain the conflict between the dominant system and visual experiences, which are various, heterogeneous, and dispersive. In general, most modern theories of the visual locate the visual origins of modern subjectivity in Renaissance linear perspective. beginning with the Renaissance, marks a huge transition away from vision in the medieval period, and visual descriptions of objects under mathematical and optical models begin to appear, as well as forms of visual standardization based on the Cartesian concept of the subject. Such an argument may be seen as an attempt to reveal the nature of the "modern" (or of modernity) through an examination of the relation of subjectivity and vision. Working from a primarily socio-cultural viewpoint, recent research has suggested the following key points: first, perspective rationalizes space and converts biological eyes into abstract ones; second, linear perspective has a certain affinity with early forms of capitalism by virtue of its emphasis on calculation and rationalization; third, the authorized viewpoint of perspective explains the modern way of sceing, which is characterized by discipline and surveillance that works with the power of an invisible gaze. This thesis proceeds in two directions; it explores the affinity between the differing concepts of space in the Renaissance and the modern period and, at the same time, is intended to supplement modern visual theories by investigating the multiple perspectives(as specific representations) of the Renaissance. Although the physical and optical picture presented on the retina a differs in a very general way from the constructed socio-cunstructed socio-cultural way of seeing, we should pay cloase attention to visuality, and the affinity or intimacy between perspective and the subject in the visual field. The term, "Cartesian perspectivalism," as is used by Martin Jap in Downcast Eyes (1993), shows the interconnection of perspective as a visual mode and the modern concept of the subject, and his approach illuminates the modern while simultaneously offering a starting point for postmodern visuality and its own subject concept. There is, however, a need for another explanation of visual practices that differs from the implications of "Cartesian perspectivalism," in which the visual process is reduced to mathematical and geometrical models. Even though the frame of the dominant visual regime is acknowledged as an important device for analyzing the problems of visual cultrue and those alternatives within and derived from modern society and mainstream culture, it commits the fallacy of overlooking the hidden sides of vision, which can only be seen from the context of various visual practices. This overlooking is the result of a gap between the modern characteristic that is defined as reason and rationality, and the theories of perspective and vision advanced by artists and theorists during the Renaissance. All visual areas of the Renaissance are not defined by the principle of the constructing subjet, and importnatly, there were diverse modes of pictorial practice in that age. Furthermoer, the Renaissance concept of space and the modern one are not strictly with each other, since space as it is defined by the moddern conceop of the subject is not derived from the Renaissance. It is, rahter, closer to the Baroque space, which means that Renaissance linear perspective and scientific rationality can may be regarded as disparate. This view on perspective and rationality is connceted to the question of how pictorial matcriality is mediated by various conditions in different eras and societies. Renaissance paintings present their conditions and methods of visual activity and perspectives as specific representations, thus reversing the assertion that pictorial Realism was pursued as a device of linear perspective, which was known as both a dominant and unique method for depicting the history of art.
직류송전 인버터의 필터 최적설계를 위한 해석 및 목적함수의 선정
오성철,정교범 전력전자학회 2001 전력전자학회 논문지 Vol.6 No.1
본 논문은, HVDC 시스템의 인버터 제어기 및 고조파 필터의 설계를 위하여 동특성 및 정상상태 특성을 해석하는 방법을 제시한다. EMTP 시뮬레이션을 이용하면, 동특성 분석이 가능하며, 정상상태 특성의 분석은필터와 부하를 고려한 조류해석을 수행함으로써 가능하다. 또한 본 논문은 HVOC 시스템의 정적 및 동적 특성 분석이 가능한 단상 등가회로를 제안한다. 이 단상 등가회로에서 인버터는 스위치의 소호에 따른 전류원으로 취급된다. 또한 필터설계에 사용되고 있는 각종 목적함수를 단상 등가회로룹 이용하여 구할 수 있다, 본 논문은 전압의 고조파 성분 및 필터의 전력손실을 고려한 목적함수를 이용하여 펄터를 최적화하는 과정이 제시되어 있다. This paper proposes several methods to analyze dynamic and static characteristics of HVDC inverter system. The characteristic analysis is essential of the controller and filter design of the HVDC inverter system. Dynamic characteristic can be analyzed with EMTP simulation and static characteristic can be obtained by solving newly proposed load flow equation which includes the filter and load characteristic. New simple per-phase-equivalent circuit is also proposed. In this circuit, HVDC inverter is considered as a current source depending on the on-off status of switch. Dynamic and static characteristic can be analyzed by the proposed per-phase-equivalent circuit. For the optimal filter design, various performance criteria are proposed. The performance index, based on the per-phase-equivalent circuit, is calculated. Voltage harmonics and filter power loss are selected as criteria. Optimization procedure is explained to find optimal passive filter parameters.