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다중 곡선 PSC 박스거더교의 비틀림 거동에 관한 해석연구
우정원,임성순 한국복합신소재구조학회 2017 복합신소재구조학회논문집 Vol.8 No.3
This study investigates the torsional behavior within the geometric range of the curved PSC bridge designed and constructed in the recent work. Compared with the design specifications for torsion on the Korean Highway Bridge Design Specification(2010), the reasonable torsional reinforcement design criteria are reviewed and proposed for curved PSC girder. A numerical study investigates the torsional behavior of a curved PSC box girder. From the study on the geometrical shape of the curved beam and the torsion caused by the eccentric load of the vehicle load in this study, the following results were derived: the design criteria for diaphragm and crossbeam as presented in the current Korean Highway Bridge Design Specifications (2010 & 2015) are based on the single PC box bridge applied by the FCM or ILM method, therefore the criteria is very conservative about the multi-box girder bridge type bridge in this study.
우정아 미술사학연구회 2014 美術史學報 Vol.- No.43
This study explores the principle of futility that persistently presides over the works of Francis Alÿs. Bornin Belgium, Alÿs has been working primarily in Latin America based in Mexico City, and since the 1990s,his artistic practice has revolved around ‘strolling.’In art history, strolling is frequently associated with flâneur, which was highly praised first by CharlesBaudelaire in the late 19th century and later by Walter Benjamin. However, there exists a crucial differencebetween the flâneur, a quintessencially Western subject roaming around the modernized space, and Alÿs,a European artist who felt disoriented in Mexico City, where the Western-oriented idea of capitalism andmodernization was incompletely transplanted. Alÿs’s walking is usually accompanied with specific props or behaviors, such as a magnetic puppy thatcollected the metal debris en route, a paint can with a hole from which paint leaked throughout the walk,or a sweater that unravelled a string. When these seemingly poetic behaviors were combined with thespaces, which are charged with historical meaning and political implication, the walking became the willfulintervention to the social issues of the spaces. In this study, Alÿs’s intervention, which is based on inactivity and failure, rather than an active protestand resistance, is discussed in tandem with the discourse of Bartleby, the scrivener, the protagonist ofHerman Melville’s eponymous short story. In particular, Alÿs’s When Faith Moves Mountains is seen as thesite, where an alternative community, according to the discussions of Giorgio Agamben, Slavoje ŽiŽsek, andMichael Hardt and Antonio Negri, could possibly be realized. 본 논문에서는 벨기에 출신으로 멕시코시티를 중심으로 남미에서 주로 활동하는 미술가 프란시스 알리스의 ‘걷기’ 작업과 무위의 노동이 가진 정치적 의미를 살펴보았다. 미술사에서 걷는 행위는 샤를 보들레르와 발터 벤야민이 찬양했던 19세기 파리의 만보객을 통해 많은 논의가 되어 왔다. 그러나 모더니티의 상징이자 서구 사회의 주체로서 근대화한 도시를 관찰하며 유영하는 만보객과 서구적 자본주의가 불완전하게 이식된 남미의 대도시에 이주한 유럽인으로서의 알리스의 걷기는 완전히 다른 정치, 사회적 맥락을 갖게 된다. 알리스의 걷기는 1990년경부터 시작되었다. 강아지 모양의 자석 조형물로 거리에 버려진 쇠붙이들을 수집하고, 구멍 뚫린 페인트통을 들고 궤적을 그리며 도시를 걷고, 스웨터의 올을 풀어내며 걷는 일 등은 일견 별다른 의미는 없이 다만 일상과 동떨어진 시적 행위로 보인다. 그러나 알리스는 이러한 시적 행위와 대단히 구체적인 역사적 의미 혹은 정치적 함의가 있는 장소를 결합하여 사회에 개입하고자 한다. 알리스가 시도하는 개입의 종류는 기존의 투쟁과 저항과는 전혀 다른, 무위와 실패에 기반을 두고 있다. 본문에서는 알리스의 대표작, <믿음이 산을 옮길 때>를 중심으로, 허먼 멜빌의 소설, 『필경사 바틀비』에 대하여 질 들뢰즈, 조르조 아감벤, 슬라보예 지젝, 하트와 네그리 등 현대의 정치철학을 주도하는 학자들이 주장했던 비실천적 잠재성의 논의를 대입하여 무위의 의미를 재고하였다. 또한, 알리스가 지향하는 무위와 실패가 어떻게 1985년 대지진 이후 사회적 혼란을 겪었던 멕시코의 상황과 맞물려 새로운 정치적 개입의 가능성을 만들어내는지 논의했다.
조선시대 왕후의 이름, 휘호(徽號)의 정립 과정과 의의
우정 한국역사연구회 2022 역사와 현실 Vol.- No.126
Among all the titles the Joseon dynasty queens were awarded, the title ‘Hwiho(徽號)’ is the one that is examined in this article. How such title was institutionalized, and what was the meaning of this particular title, would be the main focus of this work. The Joseon royal family considered awarding a special title to someone as a holy event, and for such task the Joseon government arranged special ceremonies, during which Chaek(冊) and Bo(寶) pieces with special titles inscribed upon them would be awarded to the recipient. Among those awarded titles, Hwiho was a four-lettered honorific title(尊號) provided to the deceased queens, apart from the regular posthumous title that would automatically entail their death. This title was given to the late queens throughout the entire Joseon period, but at least in the beginning the practice was yet to be institutionalized. In the middle period of the Joseon dynasty, from the reign of king Jungjong through the reign of king Injo, discussions for the institution gathered momentum, resulting in the establishment of certain details such as the proper time point to award titles to the deceased queens, as well as the nature, format and procedure concerning the entire practice, which continued to be observed in the later periods of the dynasty as well. The succeeding king(嗣王, Sawang) would provide this Hwiho when the deceased queen was to be enshrined at the Dynastic Shrine for the first time. The ritual itself effectively displayed the king’s filial piety for the dead queen mother, and it was meant to be that way, as in the Joseon society which considered piety as a paramount virtue, any benevolent king should have embodied that in action. Ceremonies for presenting the dead queens a Hwiho title continued, and was even held for the last queen of the Daehan Empire, Queen Sunjeonghyo. It was a constant factor in every royal funeral that was ever arranged for a queen in Joseon, yet it never received adequate attention in Queen funeral studies. The ritual can never be observed in prior dynasties on the Korean peninsula, so this Joseon-specific ritual should be studied more in the future.