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고연소도 경수로 사용후핵연료의 열처리에 따른 세슘 방출거동
박근일,조광훈,이정원,박장진,양명승,송기찬,Park, Geun-Il,Cho, Kwang-Hun,Lee, Jung-Won,Park, Jang-Jin,Yang, Myung-Seung,Song, Kee-Chan 한국방사성폐기물학회 2007 방사성폐기물학회지 Vol.5 No.1
The dynamic release behavior of Cs from high burn-up spent PWR fuel was experimentally performed under the conditions of a thermal treatment process such as voloxidation and sintering conditions. In voloxidation process, influence of the oxidation and reduction atmosphere on the Cs release characteristic using fragment type of spent fuel heated up to $1,500^{\circ}C$ was compared. In sintering process, temperature history effect on Cs release behavior was evaluated using green pellet under 4% $H_2/Ar$ environment. Temperature range for complete Cs release from spent fuel fragment under voloxidation condition was about $800^{\circ}C{\sim}1,200^{\circ}C$, but that of green pellet under the reduction atmosphere was $1,100^{\circ}C{\sim}1,400^{\circ}C$. Key parameters on Cs release behavior from spent fuel was powder formation as well as the diffusion rate of Cs compound to grain boundary and fuel surface.
사용후핵연료의 연소도 변화에 따른 산화 및 OREOX 공정에서 핵분열기체 방출 특성
박근일,조광훈,이정원,박장진,양명승,송기찬,Park, Geun-Il,Cho, Kwang-Hun,Lee, Jung-Won,Park, Jang-Jin,Yang, Myung-Seung,Song, Kee-Chan 한국방사성폐기물학회 2007 방사성폐기물학회지 Vol.5 No.1
Quantitative analysis on release behavior of the $^{85}Kr\;and\;^{14}C$ fission gases from the spent fuel material during the voloxidation and OREOX process has been performed. This thermal treatment step in a remote fabrication process to fabricate the dry-processed fuel from spent fuel has been used to obtain a fine powder The fractional release percent of fission gases from spent fuel materials with burn-up ranges from 27,000 MWd/tU to 65,000 MWd/tU have been evaluated by comparing the measured data with these initial inventories calculated by ORIGEN code. The release characteristics of $^{85}Kr\;and\;^{14}C$ fission gases during the voloxidation process at $500^{\circ}C$ seem to be closely linked to the degree of conversion efficiency of $UO_2\;to\;U_3O_8$ powder, and it is thus interpreted that the release from grain-boundary would be dominated during this step. The high release fraction of the fission gas from an oxidized powder during the OREOX process would be due to increase both in the gas diffusion at a temperature of $500^{\circ}C$ in a reduction step and in U atom mobility by the reduction. Therefore, it is believed that the fission gases release inventories in the OREOX step come from the inter-grain and inter-grain on $UO_2$ matrix. It is shown that the release fraction of $^{85}Kr\;and\;^{14}C$ fission gases during the voloxidation step would be increased as fuel burn-up increases, ranging from 6 to 12%, and a residual fission gas would completely be removed during the OREOX step. It seems that more effective treatment conditions for a removal of volatile fission gas are of powder formation by the oxidation in advance than the reduction of spent fuel at the higher temperature.
박근아(朴槿娥) 한국미술연구소 2016 美術史論壇 Vol.- No.42
Not only the visual image such as postcards, posters, textbooks and novels illustrations, newspaper ads, etc. due to the printing technology introduced through Japan during the time of enlightenment in Korea, but also a variety of types of printed pictures such as reproduced ones by famous painters had got to be prepared. Among which bird and flower paintings were mass-produced and spread throughout the country. For printed bird and flower paintings the auspicious motifs such as pine and crane, tiger and bamboo, peonies and peacocks, eagles, a group of chickens were often used. The motifs such as pine and crane, tiger and bamboo can be also found in our Korean traditional paintings, but in the composition and style the influence of Japanese painting style is detected. The printed pictures were already introduced into the country and distributed nationwide in the 1920s, which had been used mainly in the form of a folding screen until the 1980s, in the feasting spaces, such as wedding ceremonies and the 60th birthday parties. Such folding screens were printed to form a new demand as a “new art” in the art market in the 20th century, which replaced the place of folk paintings having existed as the existing public art. Rather, the fact that folk artists have actively borrowed and transfigured the motif of the printed folding screens and tried to fit in a then fashioned taste can be found through existing handwriting folk paintings. We are looking forward to that you can identify the visual culture by newly shedding light on the relationships between printed folding screens and folk paintings in a fashion all over the 20th century, and take it a base to access the folk ones on a broader perspective.