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고현진(Hyun Jin Ko),고용식(Yong Sig Ko) 한국청정기술학회 2020 청정기술 Vol.26 No.4
정수슬러지를 이용하여 제올라이트(zeolite)를 수열합성하고, 제올라이트의 결정화에 대한 반응온도, 반응시간, Na₂O/SiO₂몰비의 영향을 살펴보았다. 제조한 제올라이트의 결정구조, 물성 및 열적 특성은 각각 X-선 회절분석, FTIR, BET 질소흡착 및 TGA로 분석하였다. 제올라이트의 흡착성능을 조사하기 위해 암모니아성 질소, 중금속이온 및 TOC 제거효율을 측정하였다. 정수슬러지의 주성분은 Al₂O₃와 SiO₂로서 각각 28.79%와 27.06%을 나타내었으며, 제올라이트 합성을 위한 실리카 및 알루미나 원료는 정수슬러지 이외에 어떠한 화학원료도 추가로 첨가하지 않고 합성을 진행하였다. 정수슬러지를 이용하여 제조한 제올라이트는 A형 제올라이트의 구조를 나타내었으며, 반응기질의 조성을 2.1Na₂O-Al₂O₃-1.6SiO₂-65H₂O으로 하고, 반응온도 9 0 ℃, 반응시간 5시간, Na₂O/SiO₂ 몰비가 1.3인 경우에 가장 높은 결정성을 나타내었다. 합성 제올라이트의 비표면적은 55 ㎡ g<SUP>-1</SUP>로서 상업용 제올라이트 A 보다 높게 나타났다. 합성 제올라이트의 암모니아성 질소(NH₄<SUP>+</SUP>) 제거율은 3시간 반응한 경우 68%를 나타내었으며, 제올라이트의 Pb<SUP>2+</SUP> 및 Cd<SUP>2+</SUP> 이온에 대한 흡착실험 결과 제거율은 각각 99.1% 및 99.3%를 나타내었다. 이는 제올라이트의 격자 내에 존재하는 Na<SUP>+</SUP> 이온과 Pb<SUP>2+</SUP> 및 Cd<SUP>2+</SUP> 이온 간의 원활한 이온교환이 이루어졌음을 나타낸다. 300 ppm 부식산 용액에 제올라이트의 첨가량을 변화시켜 3시간 동안 흡착실험을 수행한 결과 제올라이트 5 g을 첨가한 경우 TOC 제거율이 83%로서 가장 높게 나타났다. Zeolite was synthesized hydrothermally using the water-treatment sludge, and the effects of various synthesis parameters like reaction temperature, reaction time, and Na₂O/SiO₂ molar ratio on the crystallization of zeolite were investigated. Crystal structure, physical property, and thermal stability of zeolite crystals were characterized by X-ray powder diffraction, FTIR spectroscopy, BET nitrogen adsorption, and TGA measurements. The removal efficiencies of nitrogen in ammonia, heavy metal ions, and TOC were calculated to evaluate zeolite’s adsorption capacity. The primary chemical composition of water-treatment sludge was 28.79% Al₂O₃ and 27.06% SiO₂. The zeolites were synthesized by merely employing the water-treatment sludge as silica and alumina sources without additional chemicals. Zeolite crystals synthesized through the water-treatment sludge were confirmed as an A-type zeolite structure. Zeolite A had the highest crystallinity obtained from a gel with the molar composition 2.1Na₂O-Al₂O₃-1.6SiO₂-65H₂O after 5 h at a temperature of 90 ℃. The specific surface area of zeolite obtained was 55 ㎡ g<SUP>-1</SUP>, which was higher than commercial zeolite A. The removal efficiency of nitrogen in ammonia was 68% after 3 h of reaction time, while the removal efficiencies of Pb<SUP>2+</SUP> and Cd<SUP>2+</SUP> ions were 99.1% and 99.3%, respectively. These results indicate active ion exchange between Pb<SUP>2+</SUP> or Cd<SUP>2+</SUP> ion and Na+ ion in the zeolite framework. The adsorption experiments on the different zeolite addition conditions were performed for 3 h with 300 ppm humic acid. Based on the results, TOC’s highest efficiency was 83% when 5 g of zeolite was added.
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현대 패션에 나타난 패러디 (Parody) 에 관한 연구
고현진(Hyun Zin Ko),김민자(Min Ja Kim) 한국복식학회 1995 服飾 Vol.25 No.-
Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the position of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of parody. For these purposes, documentary studies about parody in lterature and art which had been discussed more often were preceded as a framework of this research. Based upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind of critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal meaning and the shift from its place (i.e. displacement). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer`s will and expression is necessarily required. Fisrt, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mockery, satire, irony, paradox by changing the form of the original throught imitation with similarity, transformation, exaggeration, emphasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unexpectedness by applying the original to inappropriate subject through its substitution, inversion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other contex. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL , Yamamoto, Castelbajac, Gaultier, Mugler, Westsood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of orginality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus if differenciates from copy which is uncritical mimicry.
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복식에 나타난 엘레강스 스타일의 조형적 특성과 미적 가치
고현진(Hyun Zin Ko) 한국복식학회 2004 服飾 Vol.54 No.6
The purpose of this study is to find the historical identity of elegance expressed on dress as both good taste and refined beauty of dress by means of stylistic approach and to grasp the plastic features and aesthetic values of each periodic style. For this, the documentary study and practical analysis have been executed. Though elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed `studied elegance` for the first time. On the grounds of both the classification of periodic styles and the periodic values, elegant styles can be defined and categorized as Salon Elegance, Victorian Elegance, Aestheticism Elegance, Modernism Elegance since Mannerism. Although each of elegant style differed depending on periodic aesthetic values, it proved that the common plastic features appeared as soft shapes, subtle colors and delicate fabrics which were modulated with exquisiteness. In addition, well-adorned appearance, graceful behavior made elegance style perfect. All of elegance styles had in common with refinement, harmony. As a result of this study, in fashion from the 16th century to the first half of 20th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society throughout this period. Even since the end of 20th century, elegance seems to continue as timeless aesthetic beauty of dress in modern fashion practice, on the accounts of its value of high class as well as its conservative stability on the basis of moderation.
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