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김종석,김은익 한국보건통계학회 1983 한국보건정보통계학회지 Vol.8 No.1
The accidents may be one of the major health problems and motor vehicle accidents are the most serious one of them. The study is aimed to analyze the status of the death and injury due to motor vehicle accidents as well as the general traffic conditions in Korea. And the authors have used the data and records of the accidents reported from the related administrative agencies and the automobile insurance company. The findings are summarized as follows: Ⅰ. As of the end of 1982 there are 646,996 motor vehicles and about 2.6 million people having driver's licence in Korea. Ⅱ. Traffic accidents marked 93.3% cases and 93.5% of casualties of those due to all types of accidents. Ⅲ. 359.1 motor vehicle accidents occurred, 15.5 persons died and 332.1 were injured from the accidents the rate per 100,000 people in 1982. Ⅳ. It has noticed that the fatality rate in Seoul and Pusan Taegu City (2.7% respectively) is lower than that in other areas of the country (6.0%) Ⅴ. The 46.199 injunes who were compensated from the Korean Automobile Insurance Company have been cared medical services for 17.8 days on the average. Ⅵ. In Korea it is very serious with the highest rate of motor vehicle accidents beyond comparison to the other developed countries, especially in the death rate to the given vehicles.
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CTBN / PU / Epoxy 의 파괴인성에서 폴리우레탄의 영향
김종석,홍석표 ( Jong Seok Kim,Suk Pyo Hong ) 한국공업화학회 1998 공업화학 Vol.9 No.2
에폭시 adduct carboxyl terminated butadiene acrylonitrile(CTBN)은 CTBN과 에폭시수지를 블렌딩하여 제조하였다. CTBN과 폴리우레탄(PU) 및 에폭시수지로 CTBN/PU/epoxy를 제조하였다. CTBN이 5 wt%에서 CTBN/PU/Epoxy는 PU의 함량이 증가할 수록 damping 피크가 이동하였다. PU의 함량이 증가할수록 상용성이 증가함을 의미한다. 그러나 CTBN의 함량이 증가함에 따라 상용성은 감소하였다. CTBN/PU/epoxy에서는 PU의 함량이 l0wt%에서 최대 굴곡값을 나타냈으나, PU 함량이 증가할수록 감소하였다. CTBN/epoxy에서 PU를 첨가함에 따라 파괴인성은 증가하였다. 파괴단면에서 전단변형과 공동화에 의한 응력백화현상을 보였다. CTBN의 공동화와 PU를 도입한 에폭시 매트릭스의 전단변형이 CTBN/PU/epoxy의 강인화기구이다. Epoxy adduct carboxyl terminated butadiene acrylonitrile(CTBN) was prepared by blending of CTBN and epoxy resin. CTBN/PU/epoxy was prepared from polyurethane(PU), epoxy resin, and CTBN. The CTBN/PU/epoxy using 5 wt% of CTBN content showed shifting damping peak as PU content increased. It suggested that CTBN/PU/epoxy had good compatibility for all composition at 5 wt% of CTBN content. But miscibility of CTBN/PU/epoxy decreased with the increase of the CTBN content. PU content for maximum flexural properties of CTBN/PU/epoxy was 10 wt%, but decreased with the increase of the PU content. The fracture toughness of CTBN/epoxy was improved by addition of the PU. Fracture surfaces of CTBN/PU/epoxy showed the shear deformation and generation of stress whitening which is associated with the cavitation. Cavitation in the CTBN and shear defomation in the PU modified epoxy matrix are the toughening mechanisms for CTBN/PU/epoxy.
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Vision, Illusion, and Misinterpretation in Conrad's Under Western Eyes
김종석 한국영어영문학회 2003 영어 영문학 Vol.49 No.4
The aim of this paper is to analyze the nature of main characters' vision in Joseph Conrad's Under Western Eyes and to examine how vulnerable they are to narcissistic, or self-centered, imagining. Consistent with the title of the novel, the text is full of references to the "eyes" and the vision of almost every character. Razumov, the protagonist of the novel, experiences illusions and hallucinations as a result of betraying his alter ego. At the same time that he feels guilty about the crime he has committed, Razumov lives in fear of being kept under constant surveillance. Razumov gives himself up to a "morbidly vivid vision" by projecting his own fear and guilt onto the world around him. As he imagines the moral consequences of his crime in everything he sees, Razumov's visual perception becomes distorted. Much like the protagonist, the narrator of the novel shows an equally limited vision. His short-sighted approach to people and events causes him to miss the point of Razumov's confession scene. Owing to his romantic illusion, the narrator sees the confession scene as a love scene, failing to achieve any sympathetic, imaginative, or intuitive understanding of the most critical event in the narrative. Of special importance is the fact that the problem of illusion is not restricted to the novel's protagonist and narrator alone; it is also true of the novel's other main characters. For them, the world is like "a blank page" on which they project their own ideas, hopes, prejudices, and desires. Locked in his subjective and narcissistic perception, each character creates for himself a vision of the world in his own image, shaping it into the mould his distinctive imagination invents. The question of illusion proves to be ubiquitous and inevitable, exemplifying "the invincible nature of human error." One of the implications of the Conradian characters' limited and distorted views of the world is modernist fiction's interest in perspectivism. Conrad's condemnation of their very one-sided perceptions of reality is indicative of perspectivism, which is the widely used modernist technique of portraying characters, objects, and events from different perspectives or points of view. Modernist writers' concern with perspectivism reflects their aesthetic view that they can create a more authentic or original representation of reality, if they develop their sense of perspectivism further. The aim of this paper is to analyze the nature of main characters' vision in Joseph Conrad's Under Western Eyes and to examine how vulnerable they are to narcissistic, or self-centered, imagining. Consistent with the title of the novel, the text is full of references to the "eyes" and the vision of almost every character. Razumov, the protagonist of the novel, experiences illusions and hallucinations as a result of betraying his alter ego. At the same time that he feels guilty about the crime he has committed, Razumov lives in fear of being kept under constant surveillance. Razumov gives himself up to a "morbidly vivid vision" by projecting his own fear and guilt onto the world around him. As he imagines the moral consequences of his crime in everything he sees, Razumov's visual perception becomes distorted. Much like the protagonist, the narrator of the novel shows an equally limited vision. His short-sighted approach to people and events causes him to miss the point of Razumov's confession scene. Owing to his romantic illusion, the narrator sees the confession scene as a love scene, failing to achieve any sympathetic, imaginative, or intuitive understanding of the most critical event in the narrative. Of special importance is the fact that the problem of illusion is not restricted to the novel's protagonist and narrator alone; it is also true of the novel's other main characters. For them, the world is like "a blank page" on which they project their own ideas, hopes, prejudices, and desires. Locked in his subjective and narcissistic perception, each character creates for himself a vision of the world in his own image, shaping it into the mould his distinctive imagination invents. The question of illusion proves to be ubiquitous and inevitable, exemplifying "the invincible nature of human error." One of the implications of the Conradian characters' limited and distorted views of the world is modernist fiction's interest in perspectivism. Conrad's condemnation of their very one-sided perceptions of reality is indicative of perspectivism, which is the widely used modernist technique of portraying characters, objects, and events from different perspectives or points of view. Modernist writers' concern with perspectivism reflects their aesthetic view that they can create a more authentic or original representation of reality, if they develop their sense of perspectivism further.
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