Vanadium 을 첨가한 고장력강의 기계적 성질에 관한 연구

김용규,김상주,이후철,윤종규 대한금속재료학회(대한금속학회) 1979 대한금속·재료학회지 Vol.17 No.3

본 실험은 Vanadium의 첨가량과 소려온도의 변화에 따른 저탄소 Vanadium강의 기계적 성질의 변화를 조사한 것이다. Vanadium첨가량은 0∼0.16%까지 변화시켜 보았으며, 그 결과 0.106%까지는 첨가량이 증가할수록 경도, 인장강도, 항복강도, 내마멸성 등이 개선되였으나 0.16%에서는 기계적 성질이 더 이상 개선되지 않았다. 또한 소려온도는 500℃, 600℃, 700℃로 변화시켰으며, 기계적 성질은 600℃에서 가장 좋았다. 소입 및 소려된 Vanadium강에서의 Vanadium 탄화물의 석출은 전위 및 폐라이트 기지 내에 불규칙하게 분포되어 있었으며 기계적 성질의 개선은 이들 탄화물에 의한 입자의 미세화 및 전위의 고착, 전위 이동의 방해 등에 기인되는 것으로 보여진다. Effect of vanadium contents and tempering temperature on the mechanical properties of low carbon vanadium steel was studied with V content ranging from zero to 0.16% and tempering temperature of 500℃, 600℃ and 700℃. As the results, hardness, tensile strength, yield strength and wear resistance were increased with the increase of vanadium content and the maximum value was shown when 0.106% of vanadium was added and tempered at 600℃ for 1 hr. Vanadium carbides were dispersed in ferrite and randomly precipitated at dislocation sites. The improvement of the mechamical properties was interpreted in terms of grain refinement and locking of dislocations due to vanadium carbides.

집중분석 : 김일성의 "주체사상"을 해부한다 -맑스 레닌 스탈린의 "명제"를 도용한 사이비 이론-

김용규 평화문제연구소 1986 통일한국 Vol.28 No.-

고속철도 신호기계실의 접지전류 개선 효과에 관한 연구

김용규,윤용기,김성진,고경준,신영인 대한전기학회 2022 전기학회논문지 Vol.71 No.11

Through construction of high-speed railways and railway electrification projects in Korea, individual(or independent) grounding methods were replaced with common grounding methods. Common grounding methods can eliminate potential difference between equipments connected with common grounding wires, but the wires are used as return current paths such as rails. A track circuit cable consists of signal wires and shielding conductors, and connects track circuit devices installed along tracks, transmitters and receivers located in a signal machine room. Shielding conductors at one end of the track circuit cable are connected to the common earth wire, and the conductor at the other end are connected to a grounding terminal of the signal machine room. It was confirmed through measurements that impulse surge current invades to the signal machine room through shield conductors of a track circuit cable connected to grounding wires. Also, it was confirmed that steel frame grounding was used as a path for another impulse surge current to enter the room. Therefore, in this paper, the ground current status of the signal room is analyzed, the improvements of grounding facilities in the signal room are listed, and the improvement effects of the ground current are presented.

대학의 변화와 ‘지금-여기’의 인문학

김용규 대동철학회 2011 大同哲學 Vol.57 No.-

우리는 인문학을 둘러싸고 매우 아이러니한 상황과 대면하고 있다. 대학의 교육적·비판적 이념으로서의 인문학은 심각한 위기에 처해있는 데 반해, 대중적 요구와 가치로서의 인문학은 호황을 누리며 새로운 부흥을 맞이하고 있는 것이다. 왜 이런 아이러니한 현상이 일어나는 것인가? 이 질문은 우리로 하여금 ‘지금 여기의 인문학이란 무엇인가?’를 묻도록 만든다. 본 논문은 대학 내의 인문학 위기와 대학 밖의 인문학 부흥이 ‘지금-여기’의 인문학의 위기, 나아가서 사회제도에서 기업으로 변해가는 대학의 재구조화 과정 속에서 인문학 자체가 겪고 있는 위상 변화를 반영하는 두 양상들임을 보여줄 것이다. 근대대학의 인문학은 국민국가의 통합적 이념과 분리 불가능하게 연결되어 있었다. 하지만 경쟁과 시장이 지배 논리를 제공하는 신자유주의적 세계에서 국민국가의 역할은 쇠퇴하고, 그에 의지했던 대학 또한 국민국가의 통합적이고 이데올로기적인 이념으로부터 분리되면서 치열한 경쟁을 통한 각자도생의 길로 나아가고 있다. 이런 상황 속에서 인문학은 급격한 변화를 맞이하고 있다. 경쟁과 우수성의 논리가 드세게 불고 있는 대학 내에서 인문학은 점차 주변화되거나 응용적이고 실용적인 학문으로 대체되는 데 반해, 시장과 경제의 신자유주의적 논리가 강화되고 생산보다 소비가 자본의 일차적 공략대상이 되고 있는 대학 밖의 현실에서 인문학은 문화적 소비나 자기계발의 도구로 전락하고 있다. 우리가 목격하는 인문학의 쇠퇴와 부흥이라는 이중적 모습은 인문학 본연의 비판적이고 사회정의적인 기능은 약화되고 인문학을 활용하려는 경제적 요구가 강해지는 우리 현실의 동전의 양면인 것이다. 본 논문은 사회적 구조의 변동과 대학의 변화 속에서 인문학이 어떻게 변해왔는지, 인문학이 앞으로 무엇을 사유해야 하는지를 살펴보고자 한다. We find ourselves in the very ironical situation as to the humanities: the humanities as the critical and pedagogical idea of the university has fallen into serious crisis while the humanities as a social demand and popular utility has enjoyed an energetic boom. In the light of the latter, the humanities seems to meet with a new revival. Why has this ironical phenomenon taken place? This question forces us to pose another crucial question of what the humanities of ‘here and now’ is like. This article tries to show that both the crisis of the humanities within the university and the boom of the humanities outside of the university reflects just two aspects of the status change which the humanities itself has experienced in the course of restructuring of the universities from social institution to industry. The humanities in the modern university was linked to the ideological and political role in imagining the cultural homogeneity and unity of the nation-states. But as such function of the nation-state has been undermined in the neoliberal world where the logics of competition and market prevail as the dominant ethos, the universities have been separated from the ideological function of the nation-state and try to find their own ways into fierce competition. The humanities encounters serious changes in this situation. On the one hand, it gets more and more marginalized or is replaced by applied or practical disciplines as the logics of competition and excellence predominate within the university. One the other hand, it is being relegated to the means of cultural consumption or self-help in the social reality in which capital is transnationalized and consumption is regarded as the crucial moment of its reproduction. In fact, both the crisis and revival of the humanities we have recently witnessed are only two aspects of the same social reality in which the traditionally critical and political function of the humanities has not only been weakened but also challenged by the economical and corporate demand for making use of the knowledges of humanities as the means of benefits. This article will examine how the humanities has changed in the current change of the universities and what the humanities should think in order to cope with this change.

영화연기에 있어서 세 가지 거리(distances)에 관한 小考

김용규 한국영화교육학회 2002 영화교육연구 Vol.4 No.-

In summary, this essay deals with distances that film actors have to face when they perform their characters. The distances mentioned above are: 1. The physical distance between a film actor and a camera. 2. The emotional distance between a film actor and his/her character. 3. The aesthetic distance between a film actor and an audience. The physical distance a film actor faces creates an instant and practical problem, with which he has to cope foremost in performing his character. That is because a movie camera controls him throughly within a frame that it defines. The frame means a microcosm that an actor lives his part. In order to enjoy acting naturally in the narrowly limited world, he/she has to understand the mechanism of film making such as camera, shot, boom mike, and editing, etc., The second part of this essay brings about a question whether the actor before a camera yields a desirable emotional distance between himself and his part. That is because film acting is different with stage acting in that it occasionally can begin with the last scene under control of powerful camera. During the era of silent film an actor performed his part in the Delsartean way of mechanical acting. Stanislavsky's realistic and natural way of acting gradually fitted in with film acting in terms of Representational style. The style differs with Presentational style in that it prefers not looking at an audience(a camera) while performing. The development of sound equipment and frequent use of C. U. has further aided film actors to make narrow the distance between themselves and their characters. While enjoying watching screen acting, the audience produce a distance between himself and a film actor acting on the screen. The third part of this essay discusses the distance whether it could be a desirable one aesthetically. Since film actors are free from the existential bond with the audience, they can perform their parts naturally as if they were in their rooms. Consequently, the audience identifies with a film actor on screen, thereby creating an aesthetic distance during the performance. Against this realistic Stanislavskian approach, Godart under the influences of Brecht made an attempt deliberately that film actors do not identifies with their characters and remain the third person while performing. Godart then creates a different aesthetic distance in which the audience should remain a critic. In conclusion, through repeated experiences of acting before cameras film actors can overcome the obstacle of physical distance between themselves and cameras. They then instinctively adapt themselves at any time to distances that movie cameras produce. Followed is a desirable distance between film actors and their parts, which means they identify with their parts without difficulty. Under this situation, film actors perform their parts truthfully, believably, and realistically. Such a film performance make an audience identify with a film character, thereby creating a desirable aesthetic distance. These three distances discussed above could be a starting point and a guide for an advanced study on film acting.

버어리종 담배의 이식시기가 수량 및 polyphenols의 종류와 함량에 미치는 영향

김용규,홍재식,김요태,나효환 한국연초학회 1984 한국연초학회지 Vol.6 No.1

To find out the effect of transplanting time on the autonomic characters, yield of cured leaves and content of polyphenols in burley tobacco, three transplanting time were evaluated. The results obtained are as follows. Low temperature which was caused damage earliest stage of tobacco in early transplanting could escape by vinyl mulching and other treatment. 2. The major polyphenols in leaves were chlorogenic acid and rutin, small amount of scopolin and quercetin were also detected. 3. Chlorogenic acid decreased during curing. 4. Polyphenols content was not influenced by transplanting time.

산업연관표를 이용한 정보통신산업의 경제효과 분석

김용규,홍동표,정시연 정보통신정책학회 1999 정보통신정책연구 Vol.6 No.1

본 논문은 1985년, 1990년, 1995ㅕㄴ의 산업연관표를 이용하여 우리나라 정보통신산업의 경제에서의 비중과 파급효과를 분석하였다. 정보통신산업을 세부적으로 구분하여 재 구성한 산업연관표를 통하여 분석한 결과 정보통신산업은 생산, 부가가치 및 수출측면에서 다른 산업보다 비교적 높은 성장률을 기록한 것으로 나타났다. 그러나 이러한 외형적 성장에도 불구하고 정보통신산업은 중간투입과 중간수요에서 수입의존도가 높은 산업구조의 문제점으로 인해 정보통신산업의 높은 성장에 따른 생산유발효과, 가격파급효과, 고용유발효과등을 충분히 실현되지 못하고 있는 것으로 나타났다.

Riemann surface에 관하여

김용규 釜山工業大學校 1968 論文集 Vol.6 No.-

Contracted Nose after Silicone Implantation: A New Classification System and Treatment Algorithm

김용규,신승호,강낙헌,김주헌 대한성형외과학회 2017 Archives of Plastic Surgery Vol.44 No.1

Background Silicone implants are frequently used in augmentation rhinoplasty in Asians. A common complication of silicone augmentation rhinoplasty is capsular contracture. This is similar to the capsular contracture after augmentation mammoplasty, but a classification for secondary contracture after augmentation rhinoplasty with silicone implants has not yet been established, and treatment algorithms by grade or severity have yet to be developed. Methods Photographs of 695 patients who underwent augmentation rhinoplasty with a silicone implant from May 2001 to May 2015 were analyzed. The mean observation period was 11.4 months. Of the patients, 81 were male and 614 were female, with a mean age of 35.9 years. Grades were assigned according to postoperative appearance. Grade I was a natural appearance, as if an implant had not been inserted. Grade II was an unnatural lateral margin of the implant. Clearly identifiable implant deviation was classified as grade III, and short nose deformation was grade IV. Results Grade I outcomes were found in 498 patients (71.7%), grade II outcomes in 101 (14.5%), grade III outcomes in 75 (10.8%), and grade IV outcomes in 21 patients (3.0%). Revision surgery was indicated for the 13.8% of all patients who had grade III or IV outcomes. Conclusions It is important to clinically classify the deformations due to secondary contracture after surgery and to establish treatment algorithms to improve scientific communication among rhinoplasty surgeons. In this study, we suggest guidelines for the clinical classification of secondary capsular contracture after augmentation rhinoplasty, and also propose a treatment algorithm.

소견: 북한의 연평도 포격을 생각하면서

김용규 한국외교협회 2011 외교 Vol.96 No.0