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김성호 한국기독교사회윤리학회 2021 기독교사회윤리 Vol.50 No.-
본 연구는 세월호를 어떻게 기억하고 상처를 회복할 것인가에 대해 4·16 생명안전공원이 갖는 공간적 의미를 통해 탐색해보고자 한다. 우선 생명안전공원의 조성을 위한 과정을 살펴본 뒤, 공간으로서 생명안전공원이 갖는 의미를 살펴보았다. 첫째, 기억공간으로서의 생명안전공원은 희생자 가족에게 애도와 추모의 공간을 제공할 뿐 아니라 사회적 참사에 대한 애도와 추모의 공간이기도 하다. 둘째, 추모와 애도의 공간, 치유와 화해의 공간, 기억의 영토화가 이뤄지는 공간이다. 또한, 갈등과 합의의 과정을 거쳐 만들어 가는 공간이며 도심의 공원에위치하여 도시 재생을 비롯한 다양한 가능성을 지닌 곳이기도 하다. 끝으로4·16 생명안전공원이 사회적 참사로 인한 아픔과 슬픔에 대한 애도와 추모를넘어 안전과 생명을 중시하는 사회로 가는 미래의 희망을 만들어 가는 상징적이고 실질적인 공간이 될 수 있는 방안을 제언했다. This article explores the spatial meaning of the 4·16 Life-Safety Park on how to remember the Sewol ferry and recover the wounds. After examining the proc- ess for the creation of the 4·16 Life-Safety Park, the spatial meaning of the 4·16 Life-Safety Parka space is examined with concept of ‘territorialization of memory, and ‘therapeutic landscaping. First, the 4·16 Life-Safety Park as a memory space not only provides a space for mourning and remembrance to the victims’ families, but also a space for mourning and remembrance for social disasters. Second, it is a space for healing and reconciliation, and a space for territorialization of memories. In addition, it is a space created through the process of conflict and consensus, and is located in a park in the city center and has various possibilities including urban regeneration. Finally, this article offers several suggestions for the 4·16 Life-Safety Park to become a symbolic and practical space that goes be- yond mourning and commemoration for the pain and sorrow caused by social disasters and creates hope for the future toward a society that values safety and life.
저탄소 Al-킬드강의 연속 어닐링에서 과시효 처리공정 중 탄화물 석출거동에 관한 연구
김성호,한봉희,박용범 대한금속재료학회(대한금속학회) 1986 대한금속·재료학회지 Vol.24 No.8
Precipitation behavior of carbides and texture change in a deep drawing sheet steel were studied by heat treating in a production scale continuous annealing line. Effect of annealing, quenching and overaging temperatures were investigated. The site of carbides precipitated during overaging treatments became larger and the Vickers hardness number decreased as the temperatures for quenching and overaging increased. After a overaging treatment at 350℃, finely dispersed plate-like carbides were precipitated in the matrix, white at overaging treatments of 400℃, carbides precipitated along grain boundaries in a form of film and within matrix in a form of coarse particles. The recrystallized structure showed a (111) type texture with the main component of (111) [1 ̄1 ̄2]. The(111) pole intensity and I_(222) I_(200) became higher as the annealing temperature increased within the α-phase region.
김성호 한국미술이론학회 2014 미술이론과 현장 Vol.0 No.17
This paper examines two key elements of “contraction” and “expansion” in relation to the way in which Wonil Rhee used space in his curatorial practice. Drawing on Gilles Deleuze’s notion of "the fold (le pli)" in a close reading of one of his last texts published in 2010, it explores the implication of the elements in the theoretical context of Rhee's curatorial practice. Along with such concepts as “postcolonialism,” “Asianness,” “technology,” and “creative paradox,” the elements serve to deconstruct confrontations between west/non-west, the cultural colonizer/the cultural colonized, thereby challenging conventional boundaries. The logic of resistance and confrontation in Rhee's early curatorial practice has gradually given way to that of “hybridization, openness, intersection, assimilation, conciliation, and communication” through metaphors such as “thermocline” and “poktanju” (bomb drink; a kind of cocktail comparable to American boilermaker), which he addressed in the exhibition at ZKM in 2007. This show provided a turning point presenting the “pocket model,” that Rhee drew from Deleuze's concept of the fold. Analyzing the exhibitions Rhee curated after the ZKM show, this paper delves into the notion of flexible space, which constantly oscillates between “contraction” and “expansion,” a space that operates like the fold of Deleuze. There is a cycle of innumerable inflection in the world of the fold, creating decentralized, uncertain, and diverse spaces. The inside of the fold is the space of potentiality where differences keep arising but are not realized. This space is after all realized from potential space through the systemization and rearrangement of time. The fold is like the “organ without the body” or the “egg.” This paper suggests that Rhee’s “thermocline” or the “pocket model” unfolds the movement of creation where the fold transforms itself through a repetition of “contraction” and “expansion.”