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이만식(Man Sig Lee),정충택(Chung-Taeg Cheong),이광호(Gwang-Ho Lee),김준호(Jun-Ho kim),이근대(Gun-Dae Lee),홍성수(Seong-Soo Hong) 한국표면공학회 2002 한국표면공학회지 Vol.36 No.1
Zinc phosphating for cold forming of steel was studied with emphasis on decreasing phosphating temperature. To lower phosphating temperature, some techniques, such as adding Cu ion into bath, using activator in the form of pre-dip, and aeration in bath, instead of using conventional accelerator, namely oxidizing agent, have been tried. It was revealed that phosphating, leading to coatings of improved uniformity and fine crystal size, can be carried out using above techniques at lower temperature (55℃) compared to conventional phosphating temperature (80~90℃). Under present condition, it was seen that optimum concentrations of Cu ion in phosphating bath and activator in pre-dip are 0.015% (w/w) and 2.0 g/l, respectively. The coating weight was within the range of 15~20 g/㎡. When lubricant was applied into phosphating coatings, the amount of lubricating component (total soap) was found to be 6~10 g/㎡ and the lubricated panel revealed excellent lubricating properties.
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가스 하이드레이트 형성 원리를 이용한 SF<sub>6</sub> 처리 기술에 관한 연구
이보람(Lee, Bo-Ram),이현주(Lee, Hyun-Ju),김양도(Kim, Yang-Do),류영복(Ryu, Young-Bok),이만식(Lee, Man-Sik),김영석(Kim, Young-Seok),이주동(Lee, Ju-Dong) 한국신재생에너지학회 2007 한국신재생에너지학회 학술대회논문집 Vol.2007 No.06
SF<sub>6</sub>(sulfur hexafluoride)는 뛰어난 단열 및 아크방지능력(arc-extinguishingproperty)으로 인해, 전력용 변압기의 절연가스와 반도체{cdot}액정용 플라즈마 CVD로의 cleaning gas, 주물공장 covering gas 등으로 사용되고 있다. 하지만, SF<sub>6</sub>의 지구온난화지수(global warming potential)는 CO₂대비 23,900배가 높아 기후변화에 미치는 영향이 CO₂보다 훨씬 크고, 대기 중 분해되지 않고 잔존하는 기간이 CH₄ 10년, CO₂ 및 CFCs는 100년으로 추정되는데 반해, SF<sub>6</sub>는 3,200년으로 연간방출양이 작더라도 오랜 기간 누적되면 그 파장이 클 것으로 사료된다. 대부분의 가스 하이드레이트(고상결정상태)는 고압, 저온에서 형성가능 하지만, 불화가스에 대해서는 쉽게 결정화가 일어난다. SF<sub>6</sub>는 3?C, 2기압에서 고밀도 고상화가 되기 때문에 여러 기체와 흔합되어 있는 경우 SF<sub>6</sub>만을 압축된 고상 결정상태를 형성, SF<sub>6</sub>를 회수, 정제할 수 있으므로 불화가스 분리{cdot}회수에 기술적, 경제적 효과를 기대할 수 있다. 본 연구에서는 하이드레이트 촉진제로서 계면활성제(promoter) 첨가에 따른 SF<sub>6</sub> 하이드레이트 형성 및 해리과정 실험을 통해 효율적인 SF<sub>6</sub> 저감에 관한 적용기술을 연구해 보았다.
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졸-겔법에 의한 나노크기의 티탄-콜로이드 합성 및 인산염 피막 특성
이만식(Man Sig Lee),이선도(Sun-Do Lee) 한국표면공학회 2005 한국표면공학회지 Vol.38 No.1
Nanosized titanium-colloid particles were prepared by sol-gel method. The physical properties, such as thermal stability, crystallite size and crystallinity according to synthesis condition have been investigated by TEM, XRD, SEM, TGA and DTA. In addition, Zinc phosphating has been studied in order to compare the phosphating characterization of prepared nanosized titanium-colloid particles. The major phase of all the prepared titanium-colloid particles was an amorphous structure regardless of synthesis temperature and the structure was composed of phoshate complex and titanium. The micrographs of HR-TEM showed that nanosized titanium-colloid particles possessed a spherical morphology with a narrow size distribution. The crystallite size of the titanium-colloid particles synthesized at 80℃ was 4-5 ㎚ and increased to 8-10 ㎚ with an increase of synthesis temperature (150℃). In addition, the coating weight increased with an increase of temperature of phosphating solution and when the concentration of titanium-colloid was 2.0 g/l, the coating weight was 1.0 g/㎡.
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이만식 ( Man Sik Lee ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.4
Lord Jim is considered as one of the pioneers of British modernism due to its characteristic narrative strategy. However, the ethical implication of its narrative strategy has not been fully studied. The omniscient narrator is replaced by Marlow, character narrator, in chapter 5 in order to provide a language system suitable to the state of Jim`s soul which could not be rendered by the Official Inquiry in the police court. Marlow`s attitude to Jim is more important than Jim`s action, because Jim is a simple character. Conrad used narrative techniques such as multiple narrative points of view and inversion of temporal chronology so as to emphasize the psychological development of Marlow towards Jim rather than the linear process of Jim`s story. Marlow`s attitude towards Jim had changed from curiosity to understanding, and then to sympathy, and then to trust, and then to pity until Jim became a symbolic figure to produce another story than that of other officers of the Patna. As Marlow tried to find a practical solution for Jim`s case with a sense of responsibility, Stein offered a position of a trading-clerk in Patusan to Jim. Patusan became a second chance to Jim, who became a successful hero like one in the story book. In spite of Jim`s brilliant achievement, Marlow could not get rid of the suspicion that the world outside the West could not be a place of destination for Jim. The intrusion of the imperial West as a person of Brown into Patusan made Jim to realize that he could not escape from the guilty past. The spoken language of Marlow is replaced by his written language in chapter 36. This narrative change indicates that the spoken language, upon which western metaphysics is based, has lost its power of public communication and that Jim`s tragedy is not a personal failure but rather that of community, for which the practical remedy has not been found out yet and could not be expressed in a public language.
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이만식(Man Sik Lee) 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.1
The critical evaluation of Heart of Darkness is closely related with the analysis of its narrative strategy. For example, Achebe’s logic is based on his critical reading of Heart of Darkness solely in the narrative level of Kurtz’s episode to condemn Conrad as a bloody racist. Achebe excludes all the other narrative levels when he says that the actual story takes place on the River Congo, the very antithesis of the Thames. Heart of Darkness is a story of writing of Marlow as well as a writing of story of Kurtz. There is a multi-level narrative structure, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Kurtz’s episode is located in the center like a kernel and circumscribed by Marlow’s tale. However, the meaning of Kurtz’s episode is not accepted literally by Marlow who has his own way of interpretation to reveal the implied meaning of Kurtz’s episode. The relationship of neighboring narrative levels here in this Chinese box structure can be defined in terms of the ironic discourse, which is caused by the discrepancies between the literal meaning of the lower narrative level and the implied meaning of the higher narrative level which tends to make one in the lower level somewhat unreliable. There are two first person narrators in Heart of Darkness. One is Marlow and the other is called the frame narrator, the unnamed narrator, the outer narrator and so on. The narrative level of Marlow’s tale is enclosed by that of the frame narrator like “misty halos” even though its enclosure is not in a perfect shape. The ‘true’ meaning, if it exists at all, of Kurtz’s story is deflected through at least two narrative layers of Marlow’s tale and the frame narrative. I’d like to introduce and add one more narrative level to the Chinese box structure. It is the narrative of the implied writer, which is explained as “the spectral illumination of moonshine” in Heart of Darkness. In order to provide verifiable evidence for the presence of the narrative level of the implied writer, the narrative strategy of Conrad’s three political novels, Nostromo, The Secret Agent and Under Western Eyes is examined to find out the ironic discourse to make the frame narrative somewhat unreliable in every one of these novels. The narrative level of the implied writer cannot be clearly distinguished from the levels of the actual writer, Joseph Conrad and the reader because the presence of the implied writer is required to represent the epistemological uncertainty or crisis of the reader as well as the writer. Cunninghame Graham, socialist and MP of Labor Party, whose favorite opinion of Heart of Darkness was received warmly by Conrad who says “I am simply in the seventh heaven to find you like the H of D so far,” has the revolutionary spirit to attack imperialism as a system of power politics and economic exploitation without enough consideration upon the aspect of ideology fascinating intellectuals, writers, soldiers, politicians and businessmen. However, as Ian Watt warns us in Conrad in the Nineteenth Century, we must not forget that no real political alternative was suggested in the nineteenth century to Western penetration of the other continents. And imperialism is not just an ideological formation or practice of domination. It is also “a psychological matrix - indeed, a culture built around narcissistic fantasy and maintained through the weird logic of misdirection, denial, and disavowal” according to Beth Sharon Ash in Writing in Between. The reason why Conrad believed that “the novel is absolutely the only vehicle for the thought of our day” is that the most effective target is the culture, the foundation of imperialistic ideology. I believe Conrad tries to transform the consciousness of the readership into a new form suitable for the era beyond imperialism through the process of the ironic discourse of the implied writer to make th
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