충남대학교병원에서 분리된 병원성 세균의 항생제 감수성 검사에 관한 고찰

양석환,김덕배 대한임상병리사협회 2001 대한임상병리사회지 Vol.21 No.1

黃眞伊時調論

金容德 漢陽大學校 人文科學大學 1982 人文論叢 Vol.4 No.-

재생굵은골재를 사용한 콘크리트의 동결융해 특성

성찬용,윤준노,김영익,임상혁,정덕현 충남대학교 농업과학연구소 2003 농업과학연구 Vol.30 No.2

이 연구는 플라이 애시를 결합재 중량의 20%, 재생굵은골재를 천연쇄석굵은 골재의 0%, 25%, 50%, 75%, 100%를 치환하여 압축강도와 동결융해 특성을 구명하였으며, 이 연구를 통해 얻어진 결과를 요약하면 다음과 같다. 1. 재령 28일의 압축강도는 모든 배합비와 W/B 35%에서 400㎏f/㎠이상으로 나타나 고강도콘크리트에 이용될 수 있을 것으로 생각된다. 2. 중량감소율은 동결융해 300사이클에서 1%미만으로 나타났고, 표면박리와 같은 현상은 나타나지 않았으며, 재생골재의 대체율이 증가할수록 감소율은 증가하였다. 3. 초음파진동속도는 동결융해 300사이클에서 19~24%정도의 감소율을 나타내었으며, 재생골재의 대체율이 증가할수록 감소율은 증가하는 경향을 나타내었다. 4. 상대동탄성계슈는 재생골재의 대체율에 따라 60~72%의 범위로 나타내었으며, 재생골재 대체율이 증가할수록 감소하는 경향을 나타내었다. 5. 내구성지수는 모든 배합에서 60이상을 나타내었으나, 재생골재 대체율이 100%일때는 급격히 떨어지는 경향을 나타내었다. 6. 재생굵은골재를 사용한 콘크리트의 압축강도, 중량감소율, 초음파진동속도, 상대동탄성계수, 내구성지수 시험결과를 볼 때, 시험에 사용한 재생굵은 골재는 고강도콘크리트에 사용이 가능할 것으로 판단된다. This study was performed to examine the freezing and thawing properties of the high strength concrete using recycled coarse aggregate. The recycled coarse aggregate was replaced by 0%, 25%, 50%, 75% and 100% of natural crushed aggregate. The compressive strength of the concrete used recycled coarse aggregate was shown in more than 400kgf/㎤ at the curing age 28 days. The weight loss ratio by freezing and thawing was shown in less than 1% at all mix type. The pulse velocity and relative dynamic modulus were decreased with increasing the freezing and thawing cycles. Also, durability factor for the freezing and thawing were decreased with increasing the content of recycled coarse aggregate. But, recycled concrete replaced with recycled coarse aggregate 100% was shown in more than 60 by durability factor in freezing and thawing of 300cycles Accordingly, these recycled coarse aggregate can be used for high strength concrete.

Henvy IV(I,Ⅱ)의 통일성 문제

金容德 동아대학교 인문과학대학 영어영문학과 1990 동아영어영문학 Vol.6 No.-

My purpose in this paper is to study the problem of unity in Henry Ⅳ(Ⅰ, Ⅱ) by a close examination of each play. The action of Henry Ⅳ alternates between two morally distinct but dramatically coexistent worlds, the world of the court and the world of the tavern. The world of the court includes not only the King and his allies but the rebels as well. The world of the tavern revolves around Falstaff and is peopled with an amazing array of his satellites who reflect his comic glory. One of Falstaff's functions is to clarify the relationship between appearance and reality. He divests filings of their ideological masks. He acts as a comic regent on honor, truth and all the ideals of the world of the court which often serve as delusions covering criminal motives and acts. Falstaff, operating on a comic as well as satiric level, is Shakespeare's imaginative response to the abuse of power. Through Falstaff we come to see how flawed the public world is. Prince Hal's oscillation between the two worlds provides the main narrative link, but the unity of the play depends rather on the way that Shakespeare has juxtaposed the scenes of the tavern with those of the court, so that the political machinations of Henry's reign are satirically reflected in the mirror of the Falstaffian comic world. Throughout part Ⅰ and part Ⅱ, the theme of Henry's Machiavellism and Prince Hal's wilier Machiavellism through his role playing is predominant. There is no "education" theme on the part of Prince Hal, but he is a cunning Machiavellian from his first appearance on the stage as demonstrated in his first soliloquy. Falstaff serves to expose, through his comic perspective, the emptiness and deceit of politics undermining and subverting the false values and pretensions of the court. In this sense, al's rejection of Falstaff reflects power's preference for the barren cruelty that underlies the Realpolitik of Henry Ⅳ and Henry Ⅴ. Henry Ⅳ is a "dramatic objectification of the conflict between what Freud called the reality-principle of Prirnce Hal and the pleasure principle of Falstaff." The theme of Henry Ⅳ(Ⅰ, Ⅱ) is the morally corruptive influence of power, the cruelty and deceit that inevitably infect those who wear the crown. This is the Machiavellian divorce of public from private morality which manifests itself in the Lancastrian leaders' constant concern with their public image. But Shakespeare particularly emphasizes the moral effect of the Machiavellian Realpolitik. This theme has been worked out in each play by the strucrue of offering a cuntervailing value to the inhumarlity arising from the exercise of power. In the process of the development of theme, human motivation is more stressed than either Providence or Fortune, and the conflict in personalities and the values they represent is embodied within the plays, providing their unity.

韓·日 兩國의 가족내 호칭에 관한 硏究

李庸悳 啓明大學校 國際學硏究所 日本硏究室 1999 日本學誌 Vol.19 No.-

셰익스피어 사극의 제 2 사부작 연구 : Thematic Structure를 중심으로

金容德 東亞大學校 1983 東亞論叢 Vol.20 No.1

My purpose in this paper is to study the thematic structure of Shakespeare's second tetralogy by a close examination of each play, on the assumption that the term 'structure' includes both content and form. This dissertation begins with a presentation of Machiavellism as the ideological background of the kings and the politicians in the second tetralogy. Historical critics propose, based on the Elizabethan World Order, that these plays are primarily moralistic tracts in dramatic format in consonance with conventional Tudor attitudes and Machiavelli argues that the exercise of power is independent not only of theology but of morality as well. As against these views, I argue that the plays themselves do not conform to such interpretations but, in fact, often contradict them. I then proceed to a detailed examination of the plays, and this examination will show that far from reflecting any political ideology or any partisan moral outlook the plays are committed to dealing with the moral effect the exercise of power has upon the individual man wields it and upon his people. In Richard Ⅱ, "the chiasmic structure of the drama on the thematic axis of power reflects the nature of politics and Shakespeare's theme, "and allows us to see Richard in dual roles: as both power's wielder and power's victim. Superficially the plot of the personal conflict between Richard and Bolingbroke seems to dominate the play, but in fact RichardⅡ is constructed so that Richard, in dual roles, is the focus of our interest. In the process of Richard's rise and fall, the theme of human motivation represented by the imagery of 'two buckets" is prominent rather than that of Providence or Fortune. Richard's downfall is not due to his poetic disposition or his over-dependence on divine kingship, but rather to his own maladministration and Bolingbroke's ambition. After his return from Ireland our interest is his reaction to the changed political situation, not his ability as a ruler. Within that structure Shakespeare directs our responses and his answer to power is poetry of truth. Indeed, the poetry is always directed against whoever is in power, whether it is Richard or Bolingbroke. Thus in the first section of the play, when Richard is still secure as King and using his power for cruel and violent ends, the poetic voices cry out against him through the laments of the Duchess of Gloucester, Mowbray's deeply felt emotion against Richard's cruel banishment, Gaunt's great and moving paean to England, York's violent protest against Richard's disinheritance of Bolingbroke, and the three nobles' complaints before their desertion. The most effective voice, however, is Richard's after he has fallen from power. Our sympathy for Richard is effected not only through Carlisle's protest and prophesy, the Queen's laments and plea, the simple groom's affection for Richard and the Yorks' conflict, but chiefly through Richard's self-dramatized poetry. As he becomes victimized by Bolingbroke's ambition, his character grows more human, more pitiable, until finally we sympathize with him out of our increasing sense of the brutality and callousness of power. The action of HenryⅣ alternates between two morally distinct but dramatically coexistent worlds, the world of the court and the world of the tavern. The world of the court includes not only the King and his allies but the rebels as well. The world of the tavern revolves around Falstaff and is peopled with an amazing array of his satellites who reflect his comic glory. One of Falstaff's functions is to clarify the relationship between appearance and reality. He divests things of their ideological masks. He acts as a comic regent on honor, truth and all the ideals of the world of the court which often serve as delusions covering criminal motives and acts. Falstaff, operating on a comic as well as satiric level, is Shakespeare's imaginative response to the abuse of power. Through Falstaff we come to see how flawed (even how evil) the public world is. Prince Hal's oscillation between the two worlds provides the main narrative link, but the unity of the play depends rather on the way that Shakespeare has juxtaposed the scenes of the tavern with those of the court, so that the political machinations of Henry's reign are satirically reflected in the mirror of the Falstaffian comic world. Throughout part Ⅰand partⅡ, the theme of Henry's Machiavellism and Prince Hal's wilier Machiavellism through his roleplaying is predominant. There is no "education" theme on the part of Prince Hal, but he is a cunning Machiavellian from his first appearance on the stage as demonstrated in his first soliloquy. Falstaff serves to expose, through his comic perspective, the emptiness and deceit of politics undermining and subverting the false values and pretensions of the court. In this sense, Hal's rejection of Falstaff reflects power's preference for the barren cruelty that underlies the Realpolitik of Henry Ⅳ and Henry Ⅴ. Henry Ⅳ is a "dramatic objectification of the conflict between what Freud called the reality-principle of Prince Hal and the pleasure-principle of Falstaff." Even in Henry Ⅴ, the alternation of history and comedy seeks to satirize the political world by the ironic reflection of the policies of the court in the mirror of the Tavern. In Henry Ⅴ Shakespeare's manipulation of a double perspective is most apparent in the person of Henry and in our reaction to him. Just as he was in Henry Ⅳ, Henry is a cold-hearted hypocrite who glosses over his political realism with a veneer of majesty. From the first mention of a foreign war in Henry Ⅳ to the Chorus' final reminder of its ultimate futility, Shakespeare undermines the French campaign with corrosive irony. It is evident that, whatever Shakespeare may say about Henry, in his heart he regarded him as a murderer. Faced with the demand to depict such a man as a hero, he took refuge in the irony which permeates the whole play, and constantly juxtaposed the fine talk of honour and religion with the realities of human greed and cruelty. Shakespeare's final view of Henry is much like Marlowe's of Tamburlaine. Shakespeare's Henry is a consummate power politician, the truest, most accomplished Machiavelian he created. What is lacking in Henry Ⅴ is a striking personality in whom the irony of the play could be focused, a satiric voice to counter with dramatic effectiveness the King's specious rhetoric. There is no question that Machiavellism is the choice the makers of history have made; but there is also no question what this choice has made of history. The dilemma between the two antithetical forces-humanity and power-forms the tension of Shakespeare's history plays. The theme of the second tetralogy is the morally corruptive influence of power, the cruelty and deceit that inevitably infect those who wear the crown. This is the Machiavellian divorce of public from private morality which manifests itself in Richard's and the Lancastrian King's constant concern with their public image. But Shakespeare particularly emphasizes the moral effect of the Machiavellian Realpolitik. This theme has been worked out in each play by the structure of offering a countervailing value to the inhumanity arising from the exercise of power. Irreconcilable as the antinomies of humanity and power are, Shakespeare chooses humanity. We are always reminded of Richard's poetry of agony in Henry Ⅱ, Falstaff's wit and humor rather than Prince Hal's successful career in Henry Ⅳ, the humane voices of Falstaff's friends, and Williams in Henry Ⅴ. In the process of the development of theme, human motivation is more stressed than either Providence or Fortune, and the conflict in personalities and the values they represent is embodied within the plays, providing their unity.

Box Girder 해석 프로그램의 개발

조용덕,이용재 건국대학교 산업기술연구원 1995 건국기술연구논문지 Vol.20 No.-

박스 거더는 현수교나 사장교와 같은 교량의 건설에 많이 사용되고 있다. 박스 거더의 거동은 Bending, Shear, Warping torsion, Distortion으로 이루어진다. 박스 거더 거동의 해석이 일반적인 거더의 해석보다 난이해서, 이를 쉽게 해석할 수 있는 컴퓨터 프로그램의 도입이 필요하게 되었다. 프로그램을 계속 발전시킬 수 있도록 박스 거더의 기본이론을 정리하고, 3절점 1요소의 박스 거더 기본모델을 가지고 유한요소법으로 강성 매트릭스를 구축하여, 박스 거더 거동해석 컴퓨터 프로그램을 만들었다. 프로그램의 검증을 위해 타논문의 모델을 이용하여 예제 분석을 실시하였고, 정확한 결과값을 얻을 수 있었다. Thin walled box girders are widely used in modern bridge construction such as suspension and cable-stsyed bridges. This walled beam theory including warping torsion, distortion and shear effect, is combined with finite element method. Three node beam element which has nine degree of freedom in each node is incorporated into computer program. Example box girders are analyzed by this program.

오스카 와일드의 희극에 미친 여러 가지 영향

김용덕 東亞大學校 1996 東亞論叢 Vol.33 No.-

This is an attempt to study influences on Oscar Wilde's comedies; the French influence by comparing French thesis play with Wilde's Lady Windmere's Fan An Ideal Husband, Ibsen's influence by contrasting Pilars of a Society with An Ideal Husband and that of the English comedy of manners by analyzing A Woman of No Importance. Many critics have complained about Wilde's indebtedness and adherence to a tradition that was already established in comic drama; post-romantic French drama and the plays of his English contemporaries. Our superficial understanding of his plays might lead to the false conclusion that his achievement lay merely in putting together melodramatic situations, using techniques from the well-made play, and projecting them onto a background of social criticism in the problem play. The real problem of his plays is the tension between men and women, the individual and society, between public and private life, and between established norms and their deliberate violation. There is little denying that in his first three comedies Wilde was burdened with the tradition of French thesis play. But compared with the theses of Dumas fils and Augier, Wilde's were less conventional. In all his three comedies there is a secret that either sets the plot in motion or at least has a decisive influence on its course. Futhermore, this secret always concerns something in conflict with social or moral convention, that is, the indiscretions of Mrs Erlynne and Mrs Arbuthnot in lady Windmere's Fan and A Woman of No Importance, and the corruption of Robert Chiltern in An Ideal Husband. In particular the moral scheme of the plot in An Ideal Husband has, demonstrably, some unusual implications, which reflect the tolerance and compromise of Lady Windmere's fan rather than the moral absolutes of A Woman of No Importance. In Lady Windmere's Fan and A Women of No Importance Wilde attacked an uncompromising attitude, such as Dumas and Augier took, towards the demi-mondaine, and in An Ideal Husband the demi-mondaine, though foiled, is not humiliated. But It is only with his complete escape from the thesis play in The Importance that Wilde realized his potentiality in comedy Despite the fact that Wilde continually touches on the conflict between public and private life, we cannot assign leis comedies to the genre of the problem play like that of Henrik Ibsen. The tradition of problem play did not suit Wilde at all, for it ran contrary to his anti-realistic concept of art and he was not really interested in social reform. The impact of Ibsen on England helped to develop the English "problem play" of the nineties, when English drama lagged so far behind French drama that the first effect of Ibsen on English drama was merey to encourage it in going as far as Augier and Dumps. Like Shaw, Barrie, Jones, Fryers. and the rest. Wilde yielded to the epidemic temptation to rewrite Ibsen, such as taking overt drammatic situations in Ibsen, but more often added something distinctive of his own - a comic twist or like Austin Fryers, a transformation of Ibsen's text to make an effect and a point uniquely his. Especially in An Ideal Husband Wilde realized his ambitious self-conception as the peer of Ibsen' by producing shock waves capable of reaching us today through shaking the pillares of society. It should not be supposed that Wilde is attempting to imitate any one genre rather than anther; however, the Individua1 kind of comedy which he initiated and developed has even stronger affinities with the English than with the French trandition. One striking principle of construction In his comedies, which corroborates such a view, is the way in which it is organized, in part, by means of hierarchy of wit based on traditional English comedy of manners. Such a scheme would place the chief spokesmen of Wildean dandyism such as Mrs Erlynne, Lord Darlington, Lord Illingworth and Lord Goring, and two couples of lovers in The Importance in the highest rank, their tone being echoed by choric figures and the sincerely earnest at the bottom. In A Woman of No Importance Wilde created the world of a next-restoration conclict by restating a number of the standard situations of Restoration comedy, and using the stock antitheses of the genre - town and country, wits and sentiment, libertine and courtly attitudes, men and women, cits and aristos - as thc basis of reference for a critical treatment of some of the real issues of the age' There is no denying that he was interested not only in matters of technique, but also in the themes used by his predecessors; however, he made two vital contributions to the development of British drama: a new style of language and a new critical perspective. His alternation of techniques in style of language - non-commitment, witty aphonsms, paradoxes, hidden dialogue and direct expression - was the original feature that emanated directly from his own peculiar gifts, and his new critical perspective consisted in his scepticism as regards the efficiency of communication at a time when social consensus was becoming increasingly difficult, his focus on the dilemma of a the Individual seeking meaningful identity in the clash between public and private life, and his undermining of traditional conventions. Thus the works of T. W. Robertson, S. Grundy, H. A. Jones and countless other nineteenth-century playwrights have been more or less forgotten, whereas Oscar Wilde's comedies have load an asset of tremendous value, that of appealing to the common man.

인장-전단하중을 받는 점 용접재의 변형률 분포 특성 평가

차용훈,김덕중,이연신,성백섭 한국공작기계학회 1999 한국생산제조학회지 Vol.8 No.6

In order to evaluate strength of spot welded joint, at first it is importent that we should know strain distribution near nugget zone. During loading, in HAZ, compressive strain increase with Increase of load, but in nugget zone, tensile strain increase. During unloading, on the other hand, even though the load decreases, the strain variation is not almost appeared in nugget zone and HAZ. In nugget boundary zone, the strain range increases continuously along with load increase on outer surface, but the strain increases continuously and decreases rapidly beyond yield strength on inner surface. In this paper, strain distribution are measured in inner and outer surface with variation of thickness and load under tensile-shear load. Tensile-shear strength increased as with increase of specimen thickness. As for thickness increase rates are 25%, 50%, 100%, and 150%, tensile-shear strength increase rates are 40%, 81%, 130% and 228%.

중부지역 대학생의 남녀평등의식에 관한 실태조사

최덕경,최동숙,강기정,유을용,변미희 한국청소년복지학회 2004 청소년복지연구 Vol.6 No.1

This study investigated gender eqalitarianism of university students. The purpose of this study was to offer basic information and desirable direction for the education program of student's sex-role indentity. The data collection was based on Korean Questionnaire of Gender Equality Perception developed by Korean Women Development Center. Its reliabilitv(Cronbach α) was .84. In this study.982 university students were sampled in Kyunggi, Gangwon and Chungchong provinces. T-test and One-way ANOVA was conducted with the SPSS 10.0 version program. The major findings of this study were as follow: First, university student showed the highest gender eqalitarianism in educational life field. But they have the lowest in social and cultural life field. Second, male university students showed lower gender eqalitarianism than female university students. Third. student who is middle or last in brother order showed higher than one who is first or only son. Forth, student who is grown up in urban showed higher gender eqalitarianism than one in country.